Hulabhaig : Uig Open 2020: Re-imagined Online

Sunburst

By judith campbell

razor shells, stones, beach

h: 214 w: 214 d: 7 (cms).

Sunburst

There is a wild and beautiful isolated peninsular on the north Norfolk coast known as Blakeney Point. I stayed there for a few nights in an old coast guard cottage locals call the Blakeney WatchHouse a little while ago and made this piece on the beach out of razor shells which had been washed up with the tide.

The early morning or late evening light on the installation reminded me of a sunburst, so this is what I called it.

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Sunburst

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Eilean Glas Lighthouse-Scalpay

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Carrowholly

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Camurasdarach Beach, Lochaber

By claire metson

Acrylic

h: 60 w: 60 (cms).

A lovely walk to this beautiful beach on the Road to the Isles with spectacular views to the Islands of Eigg, Rum and Skye. An arc of white silvery sands, crystal clear water, rockpools, crushed shells and the golden colours of the gorse and broom amongst the dunes. Heaven indeed and hard to leave.

£350

£350 (Unframed)

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Camurasdarach Beach, Lochaber

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Middlethird, Gordon

By donald ritchie

oil

h: 46 w: 61 d: 1 (cms).

Late winter scene of a filed deeply ploughed and eready for harrowing showing a wonderful eye-catching pattern of lines and curves accentuating the deep reddish-brown of the local soil.. The painting is unframed.

£550

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Middlethird, Gordon

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Companion

By teresa hunyadi

Spalted Beech

h: 65 w: 93 d: 65 (cms).

A canine made out of one big beech tree. The beautiful pattern is reminisent of the woods fromer decay (spalting) while it was exposed to the weathers on Scotlands West-Coast. Inspired by the Egyptian god Anubis this canine moves endlessly in a circle, in that ungraspable moment of when time stands still.

£2600

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Companion

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Cloud Reading, 2020

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Window 2

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Borders Landscape, Eyemouth

By donald ritchie

oil

h: 41 w: 61 d: 1 (cms).

An autumn view acrtoss towards Eyuemouth from near Ayton, Berwickshire. Showing the beautiful and impressive hill surrounded by worked fields leaving the marks of the human hand on the land. The painting is unframed.

£550

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Borders Landscape, Eyemouth

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Summertime in Scotland

By douglas a. karson

Acrylic on Canvas

h: 80 w: 120 d: 5 (cms).

This work is inspired by the highlands of northern Scotland and the colours of the days and night, the earth and the water. It is all about colour and feel and I can't explain how the shapes came or what they mean, but to me, and my relationship to northern Scotland, it is a strong reminder.

It was painted upon return from my last trip to Ullapool, a town near the outer Hebrides, where we used to rent a cabin and holiday for 2 weeks in the summer with my wife's extended family every two years.

After visiting 3 times, on the last time there, I decided to run across Scotland from Ullapool to Bonar Bridge along the Munroe Trail. I brought my water pack, snacks, compass and map and set off to cross the country. My wife was due to pick me up after 9 hours and call mountain rescue after 12. It took me 14 hours to cross.

During that crossing, I was inspired by the quiet, the colours, the lakes and this piece formed during that run.

While visiting Ullapool, we would often take the ferry to the Outer Hebrides and I have incredibly fond memories of that place and those summers.

Since that trip, children have started arriving and we haven't been able to return easily with a bigger and bigger family but this piece is a reminder of those good times and beautiful place.

£1500

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Summertime in Scotland

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Incidental

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PORTRAIT of SELF ISOLATION

By joseph urie

OIL.

h: 76 w: 72 d: 1 (cms).

PORTRAIT DURING COVID 19 CRISIS of SELF ISOLATION.

£2850

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PORTRAIT of SELF ISOLATION

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Rutledal, Norway

By gillie whittle

Watercolour

h: 36 w: 41 d: 1 (cms).

Rutledal, Norway is a small village near the mouth of Sognefjorden. A peaceful, sheltered pontoon after a long day's sailing in our Cornish Shrimper at the start of our voyage which covered the length of Sognefjorden.

£150

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Rutledal, Norway

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The Sand 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 itself.

£250

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The Sand Man

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Sea Pool II

By antonia glynne jones BSc, MA

Oil on canvas

h: 60 w: 80 d: 2 (cms).

This work (the second in the series) is based on a glorious sea swimming pool built into the rocks at Bude in Cornwall. The pool is over 45m long fed by the sea every high tide. As a lifelong swimmer and water polo player, swimming pools have always been wonderful places to me especially if they are outdoors. When I discovered this huge, elemental sea pool at Bude I was thrilled and I know this pool will inspire me for some time to come.

£1400

£1250 (Unframed)

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Sea Pool II

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Bude Esturary Revisited

By antonia glynne jones BSc, MA

Oil on canvas

h: 61 w: 45 d: 2 (cms).

Based on the beautiful seaside town of Bude in Cornwall, looking up the esturary at low tide.

£750

£650 (Unframed)

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Bude Esturary Revisited

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COMPOSITION ACRYLIC STUDY.

By joseph urie

ACRYLIC.

h: 77 w: 102 d: 1 (cms).

Since the PANDEMIC CRISIS iv been exploring ,in ACRYLICS, COMPOSITION ideas : of SELF ISOLATION, missing NATURE : WALKS, CYCLING activities on a daily basis, which we are all restricted to. Ironically has provided me eith an abundance of ideas.

£2000

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COMPOSITION ACRYLIC STUDY.

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Birthday

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The Shifting Western Dayshapes

By jennie speirs grant

Paper, kelp derived charcoal, reclaimed perspex, net, western isles maerl, shells, carbonised lemon.

h: 30 w: 32 d: 35 (cms).

A coded artwork in black and white referencing masthead signals ie dayshapes signifying, through the use of silhouettes, the status of a vessel at sea, such as a sailing or fishing boat. Visual signals which may be picked up from within the artwork inlcude indications of rapid environmental and technological changes affecting the Western Isles, such as the forms of cube satellites, possible environmental distress signals as signified by the black square held together by a bivalve shell, references to the status of fishing in the inverted conic forms and ocean acidification by carbonised lemon - the lemon itself continuing a cultural meme in Scottish art - and the sifting and grading of calcified maerl and shells from Western Isles beaches. Charcoal sourced from kelp and the use of "the net" throughout is deliberate in the connecting together of historic complexities and communities both past and future and the use of black net to construct dayshapes. Originally made as a maquette for sculpture summarising cultural journeys under sail made in 2019 and first shown in the Sail Britain exhibition "Fragile Ocean", St Johns at Bethnal Green.

£500

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The Shifting Western Dayshapes

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14 Soft Candies and a Jar

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Cynara cardunculus

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Mill Glen, The Ochils

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The Spirit of the Hebrides - Large version

By cathy bain

Upholstered chair

h: 115 w: 55 d: 50 (cms).

The Spirit of the Hebrides

Base

Made from half a whisky barrel from ther Laphroig distillery, upholstered with Harris Tweed that has been formed into a kilt.

A cupboard door has been cut out of the barrrel at the front and is hidden behind the kilt. When the flap of the kilt is lifted it reveals a leather strap that pulls open and automatically lights up via sensors where spirits from the outer Hebridies can be stored such as Abhainn Dearg Whisky from Uig in Lewis, Harris Gin and Barra gin. These represent the main spirits that the Hebrides currently procduces.This cupboard can of course be used for storage for any other items books etc that are easy to access when you are relaxing in the chair.

Back of chair

These staves are made from wood and upholstered with Harris Tweed. They represent the irregular shapes of the Callanish Stones and are placed in a design arc round the chair to replicate the circle in the centre of the stone circle at Callanish.

Seat of chair

The seat is upholstered with celosia vevet fabric imprinted with the iconic Uig Lewis Chessmen. This round seat can be removed to allow storage inside the base of the chair.

Arm of the Chair

The arm of the chair is made from ash wood from the Stornoway Castle grounds and has been turned to form a round pillar that is finished on top with a round glass/cup. The shape follows the curve of the base of the chair and the arc of the staves at the back. The wood was turned especailly to showcase the ripples effects of the grain that represent the ripples of sand and sea around the shores of our beautiful islands.

This chair can be seen at the Clo Mor exhibition in Drinishader, Isle of Harris when it opens.

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The Spirit of the Hebrides - Large version

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Islands (ii)

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Anthem for Doomed Youth

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Looking over the mossy wall

By brigid o shea

Oil on canvas

h: 50 w: 40 (cms).

An old house with beautiful gardens.Over the wall was an Italian garden and huge pots.Painted plain air on a lovely May day.Finished at home.

Price entered but postage extra.I couldn't enter this in the pricing section as it wouldn't accept it.

£460

£460 (Unframed)

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Looking over the mossy wall

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The Interior Garden

By sarah therese bookless D.A.

oil/mixed media on canvas

h: 50 w: 40 d: 3 (cms).

The Interior Garden describes my experience in Lockdown....the sense of the longing to be at one with nature ... the longing to .smell the fragrance of the flowers... the trees ...to watch the birds in flight ...the rivers flowing ...and all of creation bursting forth especially in Spring

www.riverbanktreegallery.co.uk

£250

£250 (Unframed)

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The Interior Garden

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The Ecologist's Journal

By sarah therese bookless D.A.

oil/mixed media on canvas

h: 50 w: 40 d: 3 (cms).

The Ecologist's Journal is inspired by my interest in wildlife / flora and fauna.

In my imagination in the Lockdown I thought about what it would be like to follow a day in the life of an Ecologist.

How many birds wings does he mend ...Does he make sure the hedgehog is freed from a trap laid for him ....How many species of leaves has he recorded?

How often does he see a Golden Eagle .?..

Can he tell the sound of thrush from a blackbird ...With hardly any traffic at all I was very aware during the Lockdown of the beautiful sound of The Dawn Chorus.

website www.riverbanktreegallery.co.uk

£250

£250 (Unframed)

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The Ecologist's Journal

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THE EGG PROTECTOR

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Beware Sudden Drop

By jemal gugunava

Oil on canvas

h: 60 w: 40 d: 3 (cms).

My simple still lifes reflect my style of life. I used to see beauty in the simple things, although living in this difficult time I realise how fragile our existence is. The object forms a symbolic image and expose my mood, emotions and state of mind.

£597

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Beware Sudden Drop

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Undredal, Norway

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On the beach at Christchurch

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Old womans Smile (ga`ire seann Chailleach)

By greg drumm

Pen, watercolour, pastel

h: 35 w: 43 d: 2 (cms).

Inspired by the many wars, pains and toils along with great happiness, contentment and joyfullness we see in the faces of older folks faces.

£90

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Old womans Smile (ga`ire seann Chailleach)

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Trevellas Cove

By claire metson

Acrylic on Board

h: 30 w: 30 (cms).

This beautiful rocky cove can be reached from the steep coastal path, a secret best kept, with a labyrinth of caves to explore and as well as old tin mine workings. Nearby is Perranporth Airfield where during WW11 it was an RAF base used by 21 different squadrons, all flying Spitfires.

£220

£220 (Unframed)

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Trevellas Cove

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Grain 1

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

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Dark Rhubarb

By brita granström

Mixed media on canvas

h: 30 w: 40 d: 4 (cms).

One of a series of still-life paintings made during lockdown. I have been working downstairs in the kitchen and ground floor rooms, rather than the top floor studio. This painting shows cut garden flowers with my son glimpsed through the porch window. UNFRAMED

£950

£950 (Unframed)

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Dark Rhubarb

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LEGEND 5

By ray rankine

ACRYLIC

h: 91 w: 71 d: 2 (cms).

This is one of a series of paintings which use the text of poems with environmental and cultural themes - this one was 'Ozymandias' by Percy Bysshe Shelley.

They are part of an ongoing series with the working title ‘Words fail me’.

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 and in this case an oil drum rusting on a North Uist shore.

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.

£3500

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LEGEND 5

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Orkney sky

By karen monaghan BA(hons) post grad diploma

Acrylic

h: 60 w: 45 d: 1 (cms).

This image was completed in March 2020 after a trip to Orkney. The weather and seas were wild and the coastline seemed to shift like a living thing. I wanted to try to capture the light and dark, the fierceness of the elements and yet the gentleness of the colours, together in harmony. I built up layers of colour scraping back and washing away to try to acheive the complexity of the light and colours. I wanted to highlight the elements as a visceral thing and not focus on the well kent view

£650

£580 (Unframed)

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Orkney sky

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Cobmarsh off Mersea

By claire metson

Acrylic on Board

h: 50 w: 50 (cms).

To the Southwest of Mersea Island lies Cobmarsh Island, saltmarsh and mudflats, sanctuary to wading and migratory birds. In the midst of the saltmarsh an abundance of golden samphire grows with sea purslane. On the western shore shingle and clay banks you will find overwashed with shell and gravel next to the eroded oyster pits.

Campaigners are raising money to help limit coastal erosion at Cobmarsh & Packing Marsh Islands which naturally help protect the harbour at Mersea. The scheme will also protect key marshland habitat for birds such as little tern, oyster catchers and ringed plovers.

White wood frame

£375

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Cobmarsh off Mersea

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Ancestry 1

By fran farrar

Monotype Print

h: 57 w: 77 (cms).

‘Ancestry I” Monotype, 2019

Monotype on Somerset – 77cm x 57cm UNFRAMED

I have, for some time, been interested in exploring ancestry and family trees. The thought that we have only come to this point in history because of those who we have come from holds a wealth of imagery and pattern.

This piece is one of a series of on going monotype prints using the repeated symbolism of linked circles, which represent generations.

A couple of years ago I returned to the South Coast and came to live on the Isle of Wight, close by where I grew up in the New Forest This sense of returning has greatly affected my work.

£190

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Ancestry 1

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untiltled

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Salt

By karen monaghan BA(hons) post grad diploma

Acrylic

h: 51 w: 56 d: 2 (cms).

This image was painted after a day on the shore at Vatersay in wild weather. Although it was October we waded into the sea and tasted the salt. I wanted to create the wild feeling of the day and connect the viewer to the place through the elements. I peeled paint from yesterday's palette and laid it down to form texture, giving a connection to the paintings before and the paintings which would come after. The left over acrylic from todays painting would become tomorrows texture. I imagine it like a song where you really only know one verse, your painting, but have a slight memory of another verse and a promise of more verses to come

£495

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Salt

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Sucession 1

By fran farrar

Copper Etching

h: 52 w: 40 d: 2 (cms).

'Sucession' - Copper etching Edition of

Succession is part of my ongoing body of work exploring ancestry. I am currently thinking about my place in the succession of generations that have brought me to this moment in time. My close conncetions with the sea and knowledge of my ancestors brings me over and over to mark make in response.

A couple of years ago I returned to the South Coast and came to live on the Isle of Wight, close by where I grew up in the New Forest This sense of returning has greatly affected my work.

£250

£195 (Unframed)

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Sucession 1

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Little Island

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PROTEUS RISING

By ray rankine

ACRYLIC

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

This is one of a series of paintings which use the text of poems with environmental and cultural themes - this one was 'The World Is Too much With Us' by William Wordsworth.

They are part of an ongoing series with the working title ‘Words fail me’.

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 and in this case an oil drum rusting on a North Uist shore.

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.

£5000

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PROTEUS RISING

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Peat stack house

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A day at the beach

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235 Sauciehall Street

By john rowland

Pastel

h: 40 w: 30 (cms).

Glasgow is my current home city, it is a city of magnificent architecture reflecting its former prosperity. Sauchiehall Street is one of its three main shopping streets. Number 235 is located at the point where the street transitions from prime retail to ‘night time economy’. It is also in the part of the street that has been affected by the 2018 Glasgow School of Art fire.

For this painting I wanted to depict the faded glory of what was until quite recently a prestigious branch of the Bank of Scotland guarded over by two ghost like statuettes.

£325

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235 Sauciehall Street

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Awaiting spring

By eleonora martorana

Oil, acrylic and gold leaf on canvas

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

This work is part of a series called Life started in 2019 with a focus on the natural world.

I am fascinated by the colorful and fantasy of living creatures, so tiny and fragile as well as resourceful and charming. The influences of this project move from the deep love I nurture for our world, intended as a powerful living whole that connects us all.

These three swallows waiting for the coming of a new glowing season, rest after flying thousands of miles every year in an eternal migration that brings renewed hope for the future from the south of Africa to the coasts of the Outer Hebrides.

£700

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Awaiting spring

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A walk in the woods

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Portal #1

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Lainch (A Heavy Sea)

By izzy thomson

Oil on board

h: 15 w: 30 d: 5 (cms).

I am from Cromarty, on the East Coast of the Scottish Highlands. The title for this painting comes from the now extinct Cromarty Fisherfolk Dialect. I am extremley interested in local culture and its relationship with the sea and land, which is some what peetring out. Through painting, I am curious to find out what these old cultures and stories, which are often rooted in the living world, can offer in order to try and help to proctect it. Often venturing West, I painted this painted from memory and experience, of a boat ride from Ullapool to Stornoway. In correlation with the 'Black Isle', I was thinking about these dark rock shapes, born from the sea. Habitable for whom?

£300

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Lainch (A Heavy Sea)

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North Sea Welders

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Man Waiting

By joanne northey

Etching layered with Photoetching

h: 37 w: 32 d: 3 (cms).

"That would be too bad, really too bad. When you think of the beauty of the way. Wouldn't it?"

Waiting for Godot, Beckett

£230

£180 (Unframed)

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Man Waiting

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Easkey Roost at Dusk

By matthew gammon

Photo Intaglio Print

h: 76 w: 76 d: 1 (cms).

This piece is part on an ongoing project I'm working on looking at Corvids and their habitats along the various Atlantic coastlines. These birds fascinate me, and references to them can be found in the folklore from around the world.

This is a limted edition of 25 prints.

£360

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Easkey Roost at Dusk

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Glasgow Saltmarket

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Night Ferry

By tim carroll

acrylic on canvas

h: 81 w: 91 d: 25 (cms).

Hieratic figures rowing a boat facing two ways and looking mysterious.

£900

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Night Ferry

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NOTHING SPECIAL

By ray rankine

ACRYLIC PAINT, COLLAGE

h: 91 w: 71 d: 2 (cms).

This is one of a series of paintings which use the text of poems with environmental and cultural themes - this time 'Nothing Special' by Zbigniew Herbert . They are part of an ongoing series with the working title ‘Words fail me’.

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.

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.

£4000

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NOTHING SPECIAL

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Open Source

By robert fitzmaurice

Acrylic on panel

h: 50 w: 40 d: 2 (cms).

This work involves shifts in the tone and contour of the smaller figures so that a larger figure, related to the smaller versions, take shape.

The work comes from a series of invented deities and was due to be shown this April in ‘Of Geometry and Gods, Side by Side’ at Sandham Memorial Chapel until the exhibition was cancelled due to the coronavirus pandemic.

These works embrace broader themes of identity, individualism and community. They also reflect my growing interest in contemporary discourse around the indexicality of painting and concepts of difference and repetition.

£850

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Open Source

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EPISODE

By ray rankine

ACRYLIC

h: 61 w: 76 d: 3 (cms).

This is one of a series of paintings which use the text of poems with environmental and cultural themes - this one was 'Episode in a Library' by Zbigniew Herbert.

They are part of an ongoing series with the working title ‘Words fail me’.

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.

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.

£3500

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EPISODE

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Ahimsa

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pipe of peace

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THE ROAD TO ULLAPOOL

By david crawford BA HONS FINE ART

LIMITED EDITION 1/10 PHOTOGRAPHIC PRINT ON ARCHIVAL PAPER

h: 59 w: 95 d: 4 (cms).

Low numbered 1/10 limited edition print on archival matt photographic paper.

Signed by the artist.

Framed by hand and artist quality checked.

Black frame and white card mount.

Camera - Leica Q

£249

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THE ROAD TO ULLAPOOL

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64 Gates

By robert fitzmaurice

Acrylic on panel

h: 50 w: 40 d: 2 (cms).

This work involves shifts in the tone and contour of the smaller figures so that a larger figure, related to the smaller versions, take shape.

The work comes from a series of invented deities and was due to be shown this April in ‘Of Geometry and Gods, Side by Side’ at Sandham Memorial Chapel until the exhibition was cancelled due to the coronavirus pandemic.

These works embrace broader themes of identity, individualism and community. They also reflect my growing interest in contemporary discourse around the indexicality of painting and concepts of difference and repetition.

£850

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64 Gates

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Purbeck Form One

By andrew thomas SWAc

Patinated and Polished Bronze

h: 34 w: 32 d: 13 (cms).

'Purbeck Form One' - From my Essence of Purbeck series

Limited Edition No.3/9

Patinated and Polished Bronze

£8000

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Purbeck Form One

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power lines

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In my Place

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"Light, Life and joy, The Dubious Day Forsake". Tomson

By susie lee

Oil on canvas

h: 122 w: 152 d: 1 (cms).

In Nature we find our true selves, and in Nation there is our salvation.

Combining influences from Romantic Scottish poetry, (Thomson) and Chinese landscape painting, (where the artist is both philosopher and artist in the one gesture), the works originally manifest from the physical expressionist experience of the raw elements, having kayaked in the area. The work is a Post Expressionist _Romantic response to the original stimulus, brought into play by our crisis which to my mind highlights the need for both reassurance and a sense of belonging. Nature as our guide but also our anchor.

£4750.00

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"Light, Life and joy, The Dubious Day Forsake". Tomson

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Call

By joanne northey

Aquatint Etching

h: 37 w: 27 d: 3 (cms).

No organ is more promiscuous than the eye, and no appetite more insatiable than the hunger to look.

£230

£180 (Unframed)

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Call

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untitled

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Look out paint65

By paul hartley

Mixed media on paper

h: 21 w: 30 (cms).

This painting is part of a series that relates to minimal sculptural pieces and installations that explore the act of looking, particularly focusing and blurring. As I am short sighted and wear glasses this inspires the work.

£150

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Look out paint65

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Beth

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Highland Cattle A/P

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Petrospheres - Orkney

By henrietta armstrong

Graphite on Cartridge paper

h: 42 w: 30 (cms).

This drawing depicts two of the carved stone balls, called petrospheres, discovered in the Neolithic settlement of Skara Brae in the Orkney Islands. These ancient artefacts have been found all over Scotland and many of them were carved over 5200 years ago.

£350

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Petrospheres - Orkney

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Caledonian Red Bears Triptych

By allan renshaw

Oil on Panel & Incantation

h: 107 w: 107 d: 2 (cms).

Caledonian Red Bears. Progenitors of human and bear. They cross the primordial divide. To perform the ritual totemic dance of transmutation. To help humans redefine their relationship with earth. Take up their true responsibility - Of rebecoming animal.

Ancestors came to me in a dream and then on waking, in a dynamic stream of ecological consciousness. They asked me to be their voice, to be a conduit, to send a message. They also asked me to make an image-story of their ritual ceremonial dance - a dance of transmutation, a dance of reconciliation.

-The Image-Maker, Ursus, Winter 2020.

The Red Bear's Ancestral Message:

We are the ancient Caledonian Red Bears
We cross the primordial divide,
We come in ritual ceremonial dance.

To dance the act of transmutation,
To bring about reconciliation
To save your souls.

To read the incantation in its entirety please visit: https://www.allanrenshaw.com/caledonian-red-bears

NOTE: The UN has declared a decade of restoration - beginning from 2020 - a tangible platform.

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Caledonian Red Bears Triptych

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"Breathe"

By aileen neillie BA(Hons)

Pencil, ink, pen, paint

h: 60 w: 84 (cms).

The piece was created this year and comes from a series of drawings, and mixed media work based on feelings of guilt. Such negative emotions leads to sensations such as suffocation and claustrophobia. No matter how you try to move away from someone or something they are always there, trapped in feelings of guilt due to the failure to live up to obligations or duty. I have used the imagery of the rib cage and lungs to represent these senses as this is where most of the tension is held when experiencing guilt. The notion of drowning and being suffocated by a sense of guilt is conjured up in this imagery. This piece has been slightly abstracted as I like to give the viewer an opportunity to consider possibilities rather than being told.

I have no immediate link with the Outer Hebrides, although I have some Gaelic and have visited Lewis.

£450

£300 (Unframed)

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"Breathe"

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Aughnahoo One

By niall leavy

Mixed medium

h: 61 w: 178 d: 6 (cms).

My stripe paintings capture the different elements that go to create great and positive moments in our lives. The increased intensity and purity of colour in my work reflects the appreciation of each ingredient that goes to make up a positive or a great moment.

£2250

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Aughnahoo One

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Rookery

By beth jenkins

lino print

h: 48 w: 38 (cms).

Multi block lino print with monotype. Due to the technique used to ink, each print has subtle differences, making this a variable edition of 20, on Fabrino Tiepolo paper. 10 prints available.

£160

£160 (Unframed)

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Rookery

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crash and spume

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Wave patterns

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Wing Drying

By beth jenkins

lino print

h: 38 w: 48 (cms).

Reduction linoprint and monotype on Somerset Satin paper. Edition of 10, 5 available. Due to the inking techniques used for the background, each print is subtly different.

£180

£180 (Unframed)

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Wing Drying

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collide and spray

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The Forum

By john rowland

Pastel

h: 45 w: 60 (cms).

On a visit to Rome I searched in vain to recreate Turner's rendition of the Forum concluding that he had used a wide degree of artist's licence to reposition a number of the Forum's magnificent structures. This view was ultimately the closest match that I could make with Turner's vantage.

£550

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The Forum

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Opening

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Totemic Heronlands Triptych

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Sea Green

By mhairi muir BA

Photographic digital print on archival paper

h: 841 w: 1189 (cms).

This second work, 'Sea Green', 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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Sea Green

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Pink and Yellow Landscape

By geraldine o' brien

Mixed Mediums on board

h: 32 w: 40 d: 2 (cms).

My current work is an exploration which combines both the use of abstract composition and colour intuitively. This particular composition is soft, delicate and atmospheric; alluding to landscape and tranquillity. I find that by using very tranquil colours such as pale pinks and yellow, in such compositions accentuate a feeling of melancholy.

£300

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Pink and Yellow Landscape

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Light between Islands

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Sands of the Outer Hebrides

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David and Torrin

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Illaunnacroagh from Inishlacken

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Re-rooted

By susannah oliver E

Stone lithographic print

h: 200 w: 28 d: 3 (cms).

This is a limited edition 5 panel lithographic print. Mounted onto an oak frame.The photograph of the print series in the forest, was how I first imagined the work in the natural world. Stone lithography is a printing process that is often forgotten about, or desmissed as a strange alchemy, relying on the antipathy of grease and water. However, to Lithography lovers like myself, the aspects that are off putting to others, are the very drivers of creativity.

£1000

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Re-rooted

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Coming home

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Red Sky

By mhairi muir BA

Photographic digital print on archival paper

h: 841 w: 1189 (cms).

This first work, 'Red Sky', in a series of 3 celebrates the glorious colours reccurant in the Outer Hebrides landscapes from Harris to Lewis.

£350.00

£250.00 (Unframed)

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Red Sky

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Cottage on the beach

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Aughnahoo Two

By niall leavy

Mixed Media on deep edged panel

h: 87 w: 84 d: 6 (cms).

My stripe paintings capture the different elements that go to create great and positive moments in our lives. The increased intensity and purity of colour in my work, reflect the appreciation of each ingredient that goes to make up a positive or a great moment.

£1650

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Aughnahoo Two

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Uig Sands

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Spiky Heads

By cansu guvenkaya

Mixed Media

h: 150 w: 100 d: 50 (cms).

As an artist I am looking for a place where I can feel that I belong; my travels made me face fears and worries about the future, which threatened my aspirations to exist as an artist. Therefore, I decided to create my own world myself.
Nowadays as contemporary humans become more and more individualistic in the name of liberty, they cannot avoid the inevitability that being free and individual as a person also brings loneliness and fear and my sculptures and paintings suggest a playful and colourful way to oppose this situation.
My sculptures and paintings work like a charm. They research belief and indigenous people’s living systems; how the first humans started painting and sculpting to protect or to heal. My work clears a path to reinterpreting guardianship, the original intent of sculptures in many cultures, in the present day.
Monstrous figures with spiky forms and multiple eyes, mouths and tails swallow and destroy evil. My works carry symbolic signs such as; eyes to spot the negativity, mouths swallow fear and evil, snakes help to heal the figure with their special antidote whenever the figure gets injured. The warm colours demonstrate and reveal the power of these figures possess. In my sculptures, there is a similar defence mechanism that poisonous animals usually have. They have very bright colours or turn bright colours in moments of danger. They push the dangerous ones out of itself, scares them away. These colours are also tearing the viewer away from the real world and makes it easy to switch to the playful space that I try to create.
This game is a protected area standing against certain things. My works embody an expression and a protection against evils of the world, creating a space where evil and fear do not exist; it is an imaginary world of its own.

£7000

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Spiky Heads

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Bororaidh Hiort

By margarita williams

Acrylic

h: 65 w: 85 d: 3 (cms).

St Kilda has inspired many of my paintings,since visiting in 2014. Having a family link to the Island informs my interest in this Archipelago, which draws people from all over the world.

In this work I was depicting the sheer scale of the cliffs.

£1500

£1400 (Unframed)

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Bororaidh Hiort

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Losgaintir

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