Hulabhaig : Uig Open 2020: Re-imagined Online

All in everything #3

By martin hewer

Oil on canvas

h: 80 w: 110 d: 3 (cms).

"All in everything" has been a recurring theme, this being the most recent reincarnation.

I am interested in Cosmology as a concept and use Renaissance painting techniques.

I have been working in this field for many years.

£5000

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All in everything #3

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Fragile 111

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CANACH 1

By margarita williams

Watercolour and ink

h: 48 w: 32 d: 1 (cms).

Bog Cottons have always featured in my botanical pieces depicting the Hebridean flowers.

i became fascinated by their free movement , each having a personality. I have painted them many times in various media, on a large scale. They have become a kind of symbol of my work .This is watercolour.

£400

£400 (Unframed)

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CANACH 1

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Fixing a Hole

By pierre ajavon

Video art

h: 1 w: 1 d: 1 (cms).

By trying to fix a hole to stop our mind from wandering on the other side…

""Fixing a hole" uses lunar footage and abstract colors coupled with experimental electronic music and NASA lunar recordings.

£2500

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Fixing a Hole

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Where there is no imagination there is no horror

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Tidal Pool

By david knight

Acrylic/Canvas

h: 52 w: 42 (cms).

The beach, rock pools and sea water are all elements within ‘Tidal Pool’. There is an intriguing, ever shifting, transitory, nature to the coastal landscape. The painting aims to deal with this change and movement through a sense of pooling and running water over the beach surface. Light and reflections intensifies the colour on rock surfaces, lichens and underwater vegetation.

£480.00

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Tidal Pool

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'MAELSTROM • 6' • 2020

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Black form with White

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Grain 1.3

By roger mcnulty

Oil paint on canvas

h: 122 w: 92 d: 4 (cms).

The works titled ‘Grain’ are all painted in oil on a canvas surface. They are monochromatic in nature and have a textured appearance achieved by using pallet knife and brush. They are from a series of explorations into crystalline rock fragments. The work was inspired by my being invited to observe scientists working on climate change solutions and my association of the similarities of their microscopic images to macro-geographic structures.

£2100

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Grain 1.3

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Above and Below

By catherine yeatman

ink, watercolour, peat on paper

h: 45 w: 45 d: 2 (cms).

One piece from a series, looking at landscape and time.

£175

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Above and Below

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Aeon

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Talisman no.5

By eoin mac lochlainn 59 Larkfield Grove,

watercolour on Arches Paper

h: 40 w: 30 (cms).

This is one piece from a series of watercolours, all 40 x 30 cm, which began as 'portraits' of potatoes but developed in various directions since then ... asteroids, planets, presences... they serve as a reminder of the precarious state of our world.

£1200

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Talisman no.5

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A Series Of Bad Jokes (Joke 1)

By robert mccormack

Fixed Charcoal on paper with stretcher

h: 200 w: 135 d: 5 (cms).

Joke 1 - The pet speaks !

A collection of dogs gather, two adults and one pup. Forgetting their pack, they articulate themselves through the nuclear family unit that domesticated them. Cast charcoal paws frantically draw self portraits while quiet rubber tongues erase them. Wooden armatures, that signal dog bodies, are highjacked and repurposed as drawing machines. Traces of Crufts apparatus, playground equipment and bones fight for attention as the drawings go through a violent additive and reductive process.

Joke 2 - Big Bone.

My current work thinks through normativity and traditional family values through the figure of the pet. In the past, my work has expanded the borders of the pet subject position to include children finding similarities to the dog such as awards, training, treats and trauma. Rooted in classical disciplines of sculpture, drawing and printmaking my work situates itself in the familiar while reaching towards the bizarre. Drawings generate new sculptural ideas with entropic momentum.

Joke 3 - Blue plus yellow equals green ?

(Not for sale as I need it for an upcoming exhibtion but if someone is really intersted and can wait we can chat.)

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A Series Of Bad Jokes (Joke 1)

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eclipse

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Swim Five

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untiltled

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Moored by Scarp

By barry idris jackson

Monoprint with acrylic

h: 40 w: 50 d: 4 (cms).

The first evening of a Hebridean cruise on MV Cuma was spent moored in a sheltered bay to the north of Scarp. I drew and took photographs of the magnificent cliff face, sheer into shallow water. Back home after the trip I began making relief monoprints on Zerkall paper. Eventually this one emerged, with some additional work on top in acrylic.

£500

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Moored by Scarp

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Distant Shore Xl

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Covid Warrior

By leila anglade

oil on canvas

h: 60 w: 50 d: 4 (cms).

This is part of a series of paintings done during the lock down. It is inspired by the war like athmosphere imposed during the lockdown, which felt like a curfew. The media and political rethoric was also a war disourse. Yet in many places around the world, real wars are being fought and their voctimes not mentionned daily. The warrior in the painting relates to both an allegory of people who have cared for other in our countries and those who are fighting against tyrans and oppression in other parts of the worl. They are not forgotten.

£550

£500 (Unframed)

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Covid Warrior

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Time and tide wait for no man...........

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Three Figures Searching

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Self Portrait April 2020

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Hidden

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Storm Reimagined

By june bell

Oil on acrylic/collaged base

h: 50 w: 75 d: 3 (cms).

This is a portrait of my daughter, aged 19 against an abstracted background reminiscent of stormy weather.

She was born on the Isle of Lewis when I was working there as a GP. We lived on the island for 5 years before returning to the Scottish Borders.

The background is mixed media with elements collage on acrylic and also some wax. The figure is in oil on oil pasrel

£300

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Storm Reimagined

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Sensual

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The Wave

By tim carroll

acrylic on canvas

h: 61 w: 76 d: 25 (cms).

Stormy times on holiday by the sea.

£800

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The Wave

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Night Walk

By sean mcguill

Oil on paper

h: 21 w: 30 (cms).

This piece is based off a grainy black and white survailance photo of Rhino poachers at a nature reserve in South Africa. I wanted to explore the notion of how an image can appear to be aesthetically pleasing while also represeinting something sinister that may not be immediately evident without knowing the story behind it.

The painting is part of an ongoing series made in response to the sociological effects of the Internet and the dissimation of information. By working with random images that appear on my Facebook newsfeed and removing them from their original context, I seek to echo the way in which they can lose their original meaning or be used to support an unrelated political agenda, as often happens on social media.

£300

£300 (Unframed)

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Night Walk

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Macharioch

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A New Normal - performance by Bibo Keeley

By bibo keeley

video and sound

h: 1 w: 1 d: 1 (cms).

I created this performance during the current UK lockdown (in Scotland). It is a personal response to the radical changes we have recently become confronted with in all aspects of our lives and invites the viewer to consider what is really important in life. It reflects upon the current times which are marked by sacrifices, shortages and losses. In the performance, I shave off my long hair which I have had for the last twenty years, accompanied by a sound-collage of a cacophony of voices from the news, representing the constant flood of overwhelming and often unsettling information we hear every day.

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A New Normal - performance by Bibo Keeley

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Boy in Epping Forest

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She Takes Flight

By elizabeth wood

Digital image printed onto shaped alupanel (an aluminum composite)

h: 45 w: 170 d: 6 (cms).

This art work is an image of the sky with clouds broken into 5 parts each part being a bird shape reflecting the various stages of a flight path. The dimensions above reflect the entire 5 parts. Each of the 5 parts are in the area of 45cm H x 45cm W

£850

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She Takes Flight

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[ ] (Semi-Published, 2020)

By kristy campbell

Digital Print

'Semi-Published' is the lovechild of an artist-writer collaboration. It portrays a process of narrative evolving through image and visa versa. This collection of works is at first a set of ambiguous and inspired titles laid out as book covers, to be followed by a second collection of works formed solely through collaborative effort. 'Semi-Published' establishes a pre-platform for contemporary writers; it offers their writing a stage, accompanied by visuals, to aid the journey of their publication.

£120.00

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[ ] (Semi-Published, 2020)

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bonnie truth / untitled

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Losgaintir

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Erin’s knitting needles made from birch twigs

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Yellow Isle

By mhairi muir BA

Photographic digital print on archival paper

h: 841 w: 1189 (cms).

This third work, 'Yellow Isle', in a series of 3 celebrates the glorious colours recurrent in the Outer Hebrides landscapes from Harris to Lewis.

£350.00

£250.00 (Unframed)

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Yellow Isle

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Cuireath

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Ripening bananas

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Before the disaster: Toilet paper

By anna olsson

textile - tapestry in linen

h: 120 w: 120 d: 1 (cms).

With this tapestry I wanted to discuss and think about what we take for granted today and what, in the near future, can become a difficult-to-reach luxury about the world that we feel it collapses today. For example, if there was an environmental disaster or if right-wing extremists took power and I had to flee and had to leave everything behind me. I made a list of things that I forgive today and that I hardly notice: dishbrushes, orange juice, toilet paper, a good bra, tea, toothbrushes, chocolate… The list is certainly completely wrong for what I will be missing may not be things without my family, my friends and my workmates. It is as if disasters can never hit us, but instead other people and communities in other places in the world. I finish the tapestry and a few months later we suffer from corona everything becomes totally different.

£2600

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Before the disaster: Toilet paper

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SHORE

By ray rankine

ACRYLIC PAINT, WOOD, CANVAS COLLAGE

h: 76 w: 101 d: 3 (cms).

This is one of a series of paintings which use the text of poems with environmental and cultural themes. They are part of an ongoing series with the working title ‘Words fail me’.

This painting was inspired by 'Shore' by Hans Magnus Enzensberger.

The texts provide the first marks on the canvas before being repeated, erased or distorted during the painting process leaving only a hint of the original meaning.

Visual reference comes from various sources - graffiti, wall inscriptions, junk mail, found objects and textures, In this case a fishing hut on a beach in Southern spain, made out of recycled wood and painted white.

I was thinking about the everyday abuse and erosion of language and the fragility of actual material stuff and how meaning is constantly changed and renewed.

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SHORE

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36,500

By paulo mankini

Pencil on Paper

h: 30 w: 21 (cms).

This drawing is part of a limited edition entitled 36,500. It comprises of 471 separate and unique artworks and all connected.

There are 36,500 lines and spaces in total. That’s how long we all have. Up to 100 years. 36,500 days. Most have less than this time. Some have more.

Each line is a distinct day and a moment in time, which we choose to use or abuse. To use or to waste. We sleep in between. Our bodies need the rest. That’s the gap, in between the lines. Our dreams helping us make sense of all that’s happened and getting us ready for the next day.

The viewer has to count their own life, if they wanted a precise view of the artwork. And really understand their own mortality. This quiet counting and contemplation could send some people mad, with a miscount sending them back to the beginning or give someone a sense of mediation. Giving gratitude to every day lived and survived.

A quiet contemplation of what the future held. When would their last line be drawn? When would it end? Do they have 10,000 days ahead or just 5,000? What are they going to do with these days? Does it change their perspective? Does it feel like a lot or a little?

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36,500

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the red house

By lisa mcgann the brook

mixed medium photography

h: 16 w: 24 d: 4 (cms).

title is the red house, the setting is an old abandoned mental asylum, the view, is outside, clawing to get in, ironic ...the image has relections of the outside bluring inside, merging worlds, crossing lines, hidden treasures left behind.......

£500

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the red house

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Saith - Swarm

By karen daye-hutchinson

Collagraph, Folded Waxed Kozo, Book Cloth

h: 69 w: 92 d: 2 (cms).

This original hand printed Collagraph book is editioned to 5. The hard cover is hand made using fine book cloth and lined with somerset paper. The image has been printed on Japanese Kozo paper, waxed and folded like a hankerchief. The outer cover has an etched copper plate with the title. 'Saithe' Gealic for Swarm. The book forms part of my major one person exhibition 'Mapping' currently in lock down at Dillan Gallery, Culturlann Belfast.

Other Details:

This artwork has a hoop attacment at the top of the spine for attachment, to the wall and a magnet secures the right side.

The artwork frames up as open, with the book section closed at the top left; to reveal the title.

£400

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Saith - Swarm

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Blue Striation

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The Alpha and Omega of Modernity

By sam tahmassebi

Acrylic and gloss paint on foam boad

h: 70 w: 120 (cms).

The work draws attention to contemporary iconography; capitalist innovation; the culture of universality and how they emerge from and connect to history, race and society.

Tahmassebi’s practice poses questions about modes of production and their impact on individual and social consciousness. In this series, two dominant forces writ large, media and commercialism - social media and brands in particular - combine in a cacophony of soundbites, submerging historical roots into what Tahmassebi terms ‘cultural homogeneity’.

Incorporating elements of branding and design, such as the constant rebranding of objects; internet culture, such as its élan for prosaic quotes, and iconographic history, such as the genealogy of iconography, they highlight the manifold layers and intersections of contemporary society.

Through contextualisation, composition and deliberate cacophony, Tahmassebi calls into question the established tropes of thinking, perception, objectification and signification, as mirrors for individual, social and political dissipation. His work reflects on social history through metaphor and iconography, using forms and text as potent allegories for exclusion, marginalisation and obstruction.

£999

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The Alpha and Omega of Modernity

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Hrafnaguð

By matthew gammon

Pigment Print on Archival Paper

h: 66 w: 100 (cms).

I was commisioned to create an image for the debut album cover of the group M'ANAM. They're an international male vocal group whose work inlcudes pieces in English, Irish, Scots Gaelic, Icelandic and old Norse. This is the photo I used and it is called Hrafnaguð from the Old Norse which translates to Raven God, one of Odin’s many titles.

It is a limited edition print of 25, with 18 available.

£380

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Hrafnaguð

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Timeless Tree

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The Edge of Blue

By mhairi law

Medium-Format Film

h: 60 w: 100 (cms).

Selection from The Edge of Blue - a photographic study of the west coast of the Outer Hebrides.

This project looks to where the gneiss meets the sea, exploring the deep history of these ancient cliffscapes.

Looking to the far-flung north, we can imagine the fitting break of eroded bedrock that was once a part of this formation, now filled by the ocean that both separates and connects us.

£350

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The Edge of Blue

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Scene of silence III

By jakub pasierkiewicz

Digital photography on 3mm thick Aluminium Dibond

h: 60 w: 90 (cms).

The photograph is a part of the series called ‘Scene of silence’ and refers to a characteristic void which accompanies us while we watch a silent movie. Certainly, when looking at a photograph we cannot physically retrace any sounds, which quite often were an inseparable part of the captured moment. In this case, natural phenomena appear here muted and motionless, presenting only their visual potential. In a nutshell, photography is a still image. However, due to our imagination and previous experiences, these pictures can provide an external stimulus to senses and belie motion and indeed familiar sounds. As somebody said: ‘photography is like the art of frozen time… the ability to store emotions and feelings within a frame’.

£1000

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Scene of silence III

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Isolation

By Margaret Uttley BA (hons)

Charcoal and Graphite

h: 112 w: 112 d: 3 (cms).

During COVID-19 lockdown, I was restricted to just exploring the close area around Cliff beach, Valtos, where we are fortunate to live. This small bay in 'Isolation' is quite private and rarly accessed from the main beach. I have spent much time wandering amongst the rockpools, enjoying this space to myself, expressing "how lucky am I".

Observing the rich depths through the clear clean water pools, the characterful shapes of the majestic bold rocks that reveal their interesting fracture lines, telling the story of their formation. The rhythmical movement of the sea is echoed in the sand and the rocks.

£1800

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Isolation

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The Stone Man

By william davis

Silver Gelatin Print

h: 38 w: 30 d: 2 (cms).

This image is from a series of work that explores the Hero's Journey (as made popular by Joseph Campbell). It is about the monomythological transformation of the ordinary into the extraordinary. It also yields to the wisdom of The Sixth Extinction as made so eloquently clear by Elizabeth Kolbert in her book of the same title. Yet I question the glory of that journey and the spoils of its outcomes. Humans, while not the fastest or wisest species, excel in adaptation and resilience. I am most interested in how myth and sustainability intersect in these photos. These images symbolize the trajectory of defiant attempts to leverage our own evolution at the expense of the natural world– and the material consequences that has for the biosphere. When we build with stone, we devolve with the sands of time.

As humans interrupt ecology, we undermine our own existence– not unlike the last cannibal standing, with nothing left to eat but himself.

£250

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The Stone Man

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Elizabeth

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Window 1

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Lockdown N'1 ©

By sanges studio

Photography

'Lock down' is a photographic based project that tells the story of our world during these times of isolation.

This series was directly inspired by the world on pause, moving to the pace of isolation and fear.

Through black and white images, the viewer is taken on a primitive and powerful journey in between domestic objects, daily rituals and symbols.

Traveling through surreal scenes, we are invited to enter and create our own version of the lock-down, letting anxieties and despair flow through the images.

It was important for me to freeze on paper this universal experience as a part of our path of life and history. The emotions are mixed and the moody atmosphere is amplified by the shades of grey and shadows.

I have always been fascinated by human emotions and their impact on one's behaviours. While creating these photographs, I came closer to understanding the human essence, and its complexity.

All images are shot in analogue and printed in the darkroom, following the original crafts and processes of photography.

£5500

£5000 (Unframed)

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Lockdown N'1 ©

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Arrosa

By alexandra harley

painted ceramic and thread on concrete

h: 22 w: 17 d: 15 (cms).

Arrosa is a constructed and painted ceramic sculpture, tied together with thread. Delicate, individual clay elements were cut and shaped; the cut sides of each piece contrasting with the fluidity of the folds. Each junction is bound together allowing the bent and twisted clay to take off in a new direction before being restrained again. I used the thread to travel across the space as well as tying individual parts. I used a pink spray paint which has affected the thread and distorted the smooth line it would otherwise have. The thread has cocooned the sculpture, which writhes and twists inside the coarse outer threads. Individual parts of the sculpture are linked to its neighbour by proximity and to other areas with the thread. The concrete base is asymmetrical and has a loose wash colour.

£300

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Arrosa

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Winter In The Pacific Northwest

By antoinette luchessa

Paper, wire, watercolor, mounted on 19th century paper

h: 40 w: 35 d: 8 (cms).

Three-dimensional, life-sized, paper botanicals made of paper, wire and watercolor mounted on 19th century paper. Representing the following native plants of the Pacific Northwest: Pinus contorta (shore pine), Trametes versicolor (turkey tail fungus), Parmelia sulcata (lichen), Evernia prunastri (lichen), uncertain moss, Cantharellus formosus (chanterelle), Gaultheria shallon (salal).

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Winter In The Pacific Northwest

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March 28

By christina riley

Seashells on paper (Digital Photograph)

h: 12 w: 8 d: 4 (cms).

The Beach Today
March 28 2020

https://twitter.com/cmarieriley/status/1244006292219482113

The Beach Today is a project which grew out of lockdown during the coronavirus crisis, presenting the findings of beach combs from my daily walks on the west coast of Scotland.

Creating arrangements of natural materials found on the beach - shells, pebbles, pottery, egg cases - The Beach Today illustrates what the beach looked like that day. By looking closely at the details these pieces display the endless colours, shapes, textures and curiosities of the sea shore. Each collection is displayed on white cartridge paper and photographed on an iPhone, shared each evening with an online audience on Twitter and my website.

The project has started a discourse on Twitter, with people from across the world sharing either, their own finds from beaches or gardens during lockdown, or past beach finds from when they could visit the sea. It has been a hugely inspiring and heartwarming project, and both collecting and sharing these arrangements has undoubtedly been the highlights of my day during this strange, locked down era of our lives.

(For physical exhibition, these collections would be presented in a deep set frame, securing the objects to a board and allowing viewers to see first hand what truly makes these collections special - the way the light plays on the different shapes, the variety of textures, how the colour of the shells and pebbles change in different light.)

£200

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March 28

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Feast and Found

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GletscherEIS , Glacier/ICE

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Bothy Socks

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Natural resemblance VIII

By jakub pasierkiewicz

Digital photography on 3mm thick Aluminium Dibond

h: 70 w: 100 (cms).

Often, we come across images which have very little in common regarding their subject, yet which seem to be closely resembled. It is a sort of unintentional recollection, where retained images in our memory appear in newly encountered situations, phenomena, or objects. Some might call it Déjà vu - as an anomaly of memory, which creates a distinct impression that experience is "being recalled". Subconsciously similar motifs draw one's attention. Individual elements of compositions, or colour combinations, all bring deeply embedded memories of past experiences.

£1000

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Natural resemblance VIII

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200 x 95

By anthony hensman

Oil and chainlink fence on linen

h: 200 w: 95 d: 4 (cms).

The work and its series use chain line fencing that would typically surround a recreational sports ground. I was interested in the relationship between the fencing and the body, in terms of restricting and directing notions of play. The kind of play one engages in as an athlete and an artist. These works sit somewhere between Ryman, Rothko and Pollock in exploring the paint and its interaction with the surface of the canvas.

In Proffesional sport we are always given statistical values to try to quantify the degree or externt of something. These paintings are each titles after their own dimensions, giving them an immediate reference to the body.

£1700

£1700 (Unframed)

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200 x 95

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Nodes Of A Collapsing Iceberg

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Red Sea Bream moiety

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Stone Fish

By michael bullen

pate de verre

h: 900 w: 900 d: 7 (cms).

Based on the shoals fossil fish found in Caithness, rock fish who have been swimming in thier stoney seas for the past 380 million years

The panels are made of Pate de verre, that is fine grains of glass sculpted and fused togther in kilns

£1200

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Stone Fish

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The Unknowing

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GORE - Up There The Mountains Burn Worse

By sara sonas

Wood, paper, bitumen, sawdust, photos plants

'The Mountain' is a reflection of longing for natural environment in the polluted world which is obscured by habitual everyday life.

The structure of the mountain is made of wood off-cuts and paper-mache as a symbolic presentation of nature’s fragility, poured with bitumen paint mixed with soil, sawdust and sand. Four growing plants photos - which are known as one of the best air purifiers, are set inside of the work.

I combined plants with chemical paint as a time process experiment; to see whether or not the plants will survive forced toxic environment, as well as to highlight the pure intrinsic value of the natural word, which people still, unfortunately, take for granted.

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GORE - Up There The Mountains Burn Worse

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Mungerstadh Waves

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standing in the rain on armistice day

By karen monaghan BA(hons) post grad diploma

Acrylic

h: 74 w: 74 d: 2 (cms).

I completed this painting in Nov 2018 after cycling through the Hebrides in September, sketching and painting the glorious beaches there. I went to Ayr to see the response to Danny Boyle's WW1 tribute on Armistice Day. It was wet and miserable and very emotional. I wonder how long people will still remember, after the last of that generation have gone. We still do not learn by our mistakes it would seem ( Spanish Flu, Covid 19 etc). I wanted to convey the passion, terror, relief, love, and all the emotions between that could possibly speak for these young men, remembered on a wild and stormy beach. I use paint peeled off yesterdays palette to form texture in the under layers to connect each painting with the one before but this was also a human connection. We are all connected by the elements and a bigger something than we may not understand. It touches us all, the power of nature

£750

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standing in the rain on armistice day

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Candelaria Forms Series v

By cathy burke

Stoneware Ceramics

h: 22 w: 10 d: 35 (cms).

The Candelaria Series are steeped in the natural world. The forms are derived from drawings of the local natural landscape and topography, while the surface treatments signify the mosses and lichens that are a constant within these hills and woodlands.

Hand built in stoneware clay they are finished with dry, textured and volatile glazes, often going through multiple firings to receive the desired finish.

£750.00

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Candelaria Forms Series v

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Hydro Hebrides

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Grain 1.2

By roger mcnulty

Oil paint on canvas

h: 122 w: 92 d: 4 (cms).

The works titled ‘Grain’ are all painted in oil on a canvas surface. They are monochromatic in nature and have a textured appearance achieved by using pallet knife and brush. They are from a series of explorations into crystalline rock fragments. The work was inspired by my being invited to observe scientists working on climate change solutions and my association of the similarities of their microscopic images to macro-geographic structures.

£2100

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Grain 1.2

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The Sea is Stitched...

By fran farrar

Ceramic bowl with stitching

h: 37 w: 37 d: 9 (cms).

“The Sea is Stitched…” 2019, dissected stoneware bowl, stitched with waxed cotton

Glazes incorporate shells from Gurnard Beach and seaweed from Thorness Bay, Isle of Wight.

Embossing reads “The sea is stitched in to you and me”

£175

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The Sea is Stitched...

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Western Horizons

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Bang!

By claire arkin

Spray paint on vintage cartoon paper

h: 28 w: 19 (cms).

Part of a series of explorations looking at British culture, this particular artwork portrays aliens on the lead up to an imagined attack on Trafalgar Square, which went on to be presented in future work.

£150

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Bang!

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Luskentyre summer

By teg berry

Oil on board

h: 20 w: 25 d: 3 (cms).

View across the water from Luskentyre sands on the West coast of South Harris in the Outer Hebrides in June. It was still mighty cold but the air was so clear and the water several shades of blue and green. The white sands on the far beach and dunes caught the sunlight . It was a breathtakingly beautiful vista.

£200

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Luskentyre summer

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Through the Veil (Climber on the In Pin)

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Sycamore and Window Box

By brita granström

Mixed media on canvas

h: 50 w: 40 d: 4 (cms).

Another recent still-life made under lockdown. Spring sycamore buds and my son planting rocket saplings outside the kitchen window. UNFRAMED

£1200

£1200 (Unframed)

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Sycamore and Window Box

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Across the Eye

By catherine eckersall

Oil on Canvas

h: 90 w: 70 d: 4 (cms).

The bulrush, often found on riverbanks in Scotland, can also be found playing a role in faerylore. If a person with second sight has a bulrush swept across their eye, the world of the faeries will no longer be visible to them.

In Scottish folklore, rivers serve as a meeting point between the human world and the mythical otherworld of the faerys. The mysticism of the faerys is manifested visually in this natural environment, channelled through plants such as the common bulrush.

Landscapes with mythical associations, like the riverbank, can be explored through a visual language relevant to lived experiences in modern Scotland. In this vein, I have used a digital soundwave generated from the recording of a river to form the foundations of this painting, highlighting the continuance of superstitions in contemporary Scottish landscapes.

£600

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Across the Eye

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'The Braighe, Isle of Lewis'

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Into the Light

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Whisperings

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Imaginary Homelands #1

By martha orbach

Stone lithography

h: 15 w: 24 (cms).

This image is part of an unfinished series of half remembered, half imagined landscapes around the themes of imaginary homelands and hiraeth. Hiraeth is a Welsh word which is difficult to translate - longing, homesickness - for somewhere which may or may not exist, "Hiraeth - the link with the long-forgotten past, the language of the soul... Half forgotten - fraction remembered. It speaks from the rocks, from the earth, from the trees and in the waves. It's always there" Val Bethell. Imaginary Homelands is the title of an essay by Salman Rushdie which has informed the development of the work. It is one of a new series of lithographs – simultaneous explorations of place and process.

£150

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Imaginary Homelands #1

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Dwelling

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Locked In

By david abse

Mixed Media on Canvas

h: 100 w: 100 d: 2 (cms).

The combination of personal health issues which mean I am constantly in pain and the covid 19 lockdown have pushed me towards looking internally for external visual expression. I see a combination of fear, pain, mortality, and yet colour and light and contrast. These are weird times that demand weird imagery. A need to respond to the world, idiot politicians in contrast with the heroic a roof carers, health workers and others.

£1000

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Locked In

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Imaginary Homelands #2

By martha orbach

Stone lithography

h: 20 w: 27 (cms).

This image is part of an unfinished series of half remembered, half imagined landscapes around the themes of imaginary homelands and hiraeth. Hiraeth is a Welsh word which is difficult to translate - longing, homesickness - for somewhere which may or may not exist, "Hiraeth - the link with the long-forgotten past, the language of the soul... Half forgotten - fraction remembered. It speaks from the rocks, from the earth, from the trees and in the waves. It's always there" Val Bethell. Imaginary Homelands is the title of an essay by Salman Rushdie which has informed the development of the work. It is one of a new series of lithographs – simultaneous explorations of place and process.

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Imaginary Homelands #2

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A painter

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Behind You

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Lichen

By susan mannion

Enamel on copper

h: 6 w: 7 d: 7 (cms).

I visited the Hebrides in 2019 and was mesmorised by the colours of lichen on the rocks and trees. I decided to create enamel work on copper that would be a reminder of the coppers that I was inspired by.

£110

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Lichen

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Trees Bent to the Wind

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Crossing the Mara River

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Meditation ll

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When Summer Is Coming, When Summer is Near

By jennie speirs grant

Plastic lemons, carbonised lemon, coal briquette, carbonised buttercups, heather and seaweed, plastic lemon nets (yellow and black), lemon yellow card

h: 22 w: 40 d: 25 (cms).

A warning artwork, coded to hazard, partly suggested by watching the yellow haze of pollution from shipping on the sea's furthest horizon whilst sailing. The work reflects on the hidden realities of increasing ocean acidification, the potential for carbon sequestration and observation of plastic waste in the context of seas and oceans. The innocence of buttercups associated with childhood play reflecting the yellow back to us, the fragility of the carbonised buttercup translating yellow to black in its pure carbon form, combined with the brevity of the Summer and time passing, A work of reminiscence and loss titled from within the Irish traditional song, The May Morning Dew discovered even further to the West. .

£500

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When Summer Is Coming, When Summer is Near

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Susie and Ben

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Bodies in Motion.

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A Bend in the Road

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Ballinskelligs Gold

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Mirrors on Still Waters

By francetta bridle

Oil on Linen Canvas

h: 30 w: 40 d: 2 (cms).

Reflections are not easy to reprocate in painting and I wanted to acheive this without the ripple effect more often seen in artworks. Also, you need to get the mirror images as exact as possible along with the colour blending.

I hope I have acheived this.

The artwork is unframed but is ready for hanging.

£325.00

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Mirrors on Still Waters

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Maybe It Was Peace At Last

By hannah buchanan

Oil on canvas

h: 42 w: 90 d: 3 (cms).

Predominantly a landscape painter, Hannah Buchanan (b.1997) is a British artist currently based in Kent. Buchanan’s focus on landscape painting is stimulated by the impermanent nature of the seasons and an interest in Biocentrism. Through oil paint, she aims to record the pulses of life emanating in the natural environment, whilst also portraying a sense of experience, memory and emotion in the colour palette and texture of the painting. She enjoys painting in a greenhouse as her studio, as she is inspired by the greenery around her that is constantly changing through the seasons.

‘As an artist who is deeply affected by colour and light, the emotive approach to an environment is a continuous theme throughout my work. By using psychogeography as a means of exploration, I am able to approach an environment with a deeper scrutiny, deconstructing the essential characteristics that draw inspiration. As emotion and colour are interdependent, I find constructing a painting through emphasised colours much more instinctive than descriptive painting. As a result, I am freed from the boundaries of realistic painting, enabling me to choose a level of resemblance and detail I feel appropriate for the mood of the work. Moreover, I have recently developed a matured colour palette, with deep browns, greens and greyish undertones which elude to genuine experience within the atmosphere depicted the painting.’

£370

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Maybe It Was Peace At Last

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Between Two Poles

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