Hulabhaig : Uig Open 2020: Re-imagined Online

Feannagan, Lazybeds

By margarita williams

Indian Ink

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

Abstraction based on the Lazybeds in Scarista. I am drawn to the patterns my ancestors have left on the land ..the so inaptly named Lazybeds.

£1200

£1050 (Unframed)

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Feannagan, Lazybeds

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Feasgair

By margarita williams

Indian Ink and watercolour

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

Combined watercolour and Indian ink of the loch Seaforth area. The contrast between the light and the dark land features in a lot of my work. I am drawn to depict that elusive changing light.

£1200

£1050 (Unframed)

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Feasgair

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Anthony reading in the sun

By karolina franceschini

oil on board

h: 30 w: 30 d: 1 (cms).

It was just the first days of lockdown, when wether turned beautiful and Anthony was sitting in front of the livingroom window enjoyin gthe sun and reading.He was surranded by all those plants I've bought before garden centers shut and had a massive sale on....

This moment is exactly how I choose to remember this historic time.

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Anthony reading in the sun

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Curious Tales and Other Stories xiv

By elizabeth hammond

2b pencil on ceramic primed board

h: 21 w: 30 d: 2 (cms).

This work is an addition to a growing series of works that are concerned with scale, narrative and incongruity. It is about drawing, using drawing and exploring the rules of drawing such as unfinishing to make a gift to the viewer. The board is made from marine ply which is coated in an epoxy then 10 layers of ceramic dust mixed with organic paint that is sanded in between applications to create a beautiful, smooth and unique surface on which to make the drawing.

£450

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Curious Tales and Other Stories xiv

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Still

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Wake me up! (Prophetic dreams)

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Harbour view Colimore near Dalkey Dublin

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Hypnotic Burn

By kyle noble

Metallic powder and acrylic on board

h: 42 w: 42 d: 1 (cms).

From my time as artist in residence on the Rahoy Hills Reserve on Ardtornish Estate.

'On the opposite shore of Loch Arienas is the wood; in the dark twiggy gloom over there a steep-sided burn pours over crystal studded boulders. Steep sides give way to a wide gorge that the burn has carved into the hillside for a long time. Moss greens abound around there, the oak trunks, branches and boulders are soft with their deep moss blankets. On one side of the burn, a huge beech reaches into the void. On the other, a tall grove of emerald green pines stand lilac and lofty. The glistening noise of the burn hypnotises. '

A percentage of sale goes towards the reserve, helping to fund the important work they do there.

£600

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Hypnotic Burn

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Fragile 1

By irene blair

mixed media on canvas

h: 25 w: 21 (cms).

Fragile 1 is the first painting of a series "Lockdown" Iwhich of course is not yet finished as we are not out of lockdown).The inspiration from being self isolated conjures many abstract images and colours, which emerge spontaneously and the realisation of the real situation which is ever unfolding makes making art so important. This canvas is unstretched which is appropriate for the spontaniety of the series.

£295

£295 (Unframed)

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Fragile 1

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Last Daylight, Huisinis

By nina mccondichie

Oil and Mixed Media on Canvas

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

An exploration of the Hebridean landscape and the mood of a particular walk along the beach at dusk using oil and mixed media, including sand, varnish and plaster gauze. Unframed canvas.

£400

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Last Daylight, Huisinis

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Fragile 11

By irene blair

Acrylic on canvas

h: 29 w: 25 (cms).

This is the second painting in the series "Lockdown" Inspired by self-isolation.This canvas is unstretched, which is appropriatefor the spontaniety of the series.

£295

£295 (Unframed)

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Fragile 11

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Highland Flint

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Holiday

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A Poem

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Flow: Tide Lines

By helen walsh

Hand embroidery and found objects on naturally dyed fabrics

h: 76 w: 34 d: 3 (cms).

Part of an ongoing series exploring the natural world, our journeys and connections to it. Inspired by the 'drawings' the tide leaves behind in the sand this work aims to explore how the cycles of nature remind us that the world is constantly in flux but that there is also balance; things lost will be found again.

£300

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Flow: Tide Lines

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"Celtic Warriors"

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"Warriors 1"

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"Warriors 4"

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Benbecula

By allan j. robertson

Oil on Canvas

h: 107 w: 107 d: 4 (cms).

This oil painting depicts the bridge linking the islands of Benbecula and South Uist. The bridge was a precast concrete section construction when first built (1942) but is now a granite rock causeway. Dark storm clouds are moving fast across the sky, the sun bright on the horizon, after a summer squall.

The water below the bridge changes colours due to the shadows and reflections of the clouds. Purples, greens and ochre spring into sight from the every changing waves and moving clouds.

£2375

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Benbecula

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Cycling in a Dream

By diana savova

Acrylic on board

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

When the French art critic and writer Guillaume Apollinaire coined the term surrealism in March 1917, he would have hardly imagined that 100 years later artists would still find this style that calls for the juxtaposition of uncommon imagery as if in a dream, irresistibly pertinent. It was exactly in 2017 when I created Cycling in a Dream as part of a new lineage of works with surreal motifs, which now seem to strongly resonate with the strange surrealism of our global lockdown. The blurring of dream and reality becomes the symbol of our surreal culture suspended in quarantine, as much as the penny-farthing became a symbol of the late Victorian era. As we are facing the uncertainty of the post-COVID 19 world, so does the cyclist who is riding into something chaotic and unresolved ahead. It is this uncertainty that I captured through the accidental power of my signature ‘fluid acrylic pouring’ technique. I am fascinated by this rarely practised technique which brings a degree of painterly accidents, higher intensity and hyper-realistic moments beyond one’s artistic control.

£520

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Cycling in a Dream

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Change in The Weather

By allan j. robertson

Oil on Canvas

h: 153 w: 121 d: 3 (cms).

This oil painting explores the contrast between the expanse of sky and the darkening oppressive clouds, capturing a change in the weather as the title of the piece suggests. The clouds take up four fifths of the painting and are formed by translucent orange underbellies and white edges, with long vapour and water trails hanging from the underside.

The lower part of the painting shows the horizon and a body of water. The water mirrors the sky, reflecting the ultramarine, orange and yellow, of the clouds above in the water below.

A track of poles running from the right hand side of the painting curves to the centre of the horizon.

£6500

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Change in The Weather

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Outside our 2km

By nyall farrell

Oil on Board

h: 20 w: 24 d: 1 (cms).

restricted to a 2km radius from home during this Covid-19 pandemic, we can still remember that the wide open spaces and skies are still there and we will see them again soon

£500

£400 (Unframed)

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Outside our 2km

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Lapse

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Forgotten Croft

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Lochan : South Uist

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Shower Clouds over Uist

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April 26

By christina riley

Seashells on paper (Digital Photograph)

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

The Beach Today
April 26 2020

https://twitter.com/cmarieriley/status/1254379759770927105

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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April 26

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Rock pool Rossaveal

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Field Notes: Botanical Collage

By antoinette luchessa

Paper, wire, watercolor, wool, mounted on 18th century paper

h: 28 w: 63 d: 6 (cms).

Three-dimensional, life-sized, paper botanicals makde of paper, wire, watercolor and wool mounted on 18th century paper. Representing the following native species of the Pacific Northwest: Eschscholzia californica (California poppy), Fragaria chiloensis (evergreen flowering strawberry), Polypodium scouleri (Scouler's polypody), Junco hyemalis (dark eyed junco nest and egg), Papilio rutulus (western tiger swallowtail).

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Field Notes: Botanical Collage

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The poor wolf at home

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Moving sequences

By da-hyoung choi

Oil and Acrylic on canvas

h: 90 w: 60 d: 1 (cms).

I translated numerous catastrophe images into artworks. The world we live in is easy to create an image.Most people have light cameras, including mobile, that take only seconds to take high resolution pictures. Susan Sontag argued that the camera brings the viewer close, too close (Regarding the Pain of Others, 2003). The "terrible distinctness" of the pictures gives unnecessary, indecent information. Light camera movement is easy to produce detailed images and we get more of these images, which make us callous to aggressive photos and forget about social and historical events. However, when the camera movement is translated into painting, the paint is scattered rather than showing the image in detail, making it invisible or other new images. I want to reveal catastrophe images translated into painting, not the image shown without ethical considerations in the mass media.

£400

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Moving sequences

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Moving sequences

By da-hyoung choi

Oil, Oil bar and Acrylic on canvas

h: 125 w: 123 d: 5 (cms).

I translated numerous catastrophe images into artworks. The world we live in is easy to create an image.Most people have light cameras, including mobile, that take only seconds to take high resolution pictures.S usan Sontag argued that the camera brings the viewer close, too close (Regarding the Pain of Others, 2003). The "terrible distinctness" of the pictures gives unnecessary, indecent information. Light camera movement is easy to produce detailed images and we get more of these images, which make us callous to aggressive photos and forget about social and historical events. However, when the camera movement is translated into painting, the paint is scattered rather than showing the image in detail, making it invisible or other new images. I want to reveal catastrophe images translated into painting, not the image shown without ethical considerations in the mass media.

£600

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Moving sequences

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Moving sequences

By da-hyoung choi

Oil, Oil bar and Acrylic on canvas

h: 150 w: 120 d: 5 (cms).

I translated numerous catastrophe images into artworks. The world we live in is easy to create an image. Most people have light cameras, including mobile, that take only seconds to take high resolution pictures.Susan Sontagargued that the camera brings the viewer close, too close (Regarding the Pain of Others, 2003). The "terrible distinctness" of the pictures gives unnecessary, indecent information. Light camera movement is easy to produce detailed images and we get more of these images, which make us callous to aggressive photos and forget about social and historical events.However, when the camera movement is translated into painting, the paint is scattered rather than showing the image in detail, making it invisible or other new images. I want to reveal catastrophe images translated into painting, not the image shown without ethical considerations in the mass media.

£700

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Moving sequences

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Field Notes: Pink Flowering Currant

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Field Notes: Sword Fern

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Benbecula

By evie prescott

Oil on panels

h: 10 w: 42 d: 1 (cms).

View of Benbecula looking south. Dimensions are for an unframed pair of panels. Due to the delicacy of the surface they will be delivered framed to protect the art work. Price is inclusive of framing.

£400

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Benbecula

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Rubhan Teampul Harris

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Machair1

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Sea Cave

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Night Beach

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By the River 02 (Smeaton's Bridge)

By owen clark

Acrylic on Canvas Panel

h: 30 w: 30 d: 1 (cms).

Part of a series of landscapes, this work focuses on the River Tay, looking toward Perth City Centre. Framed by the bridge and the river, the focal point of the piece is thecopper dome of the Museum and Art Gallery.

£240

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By the River 02 (Smeaton's Bridge)

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Gudrun and Burman, the Ram

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Taladh na Mara

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bonnie truth / untitled

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bonnie truth / untitled

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Coming Home

By steve dodd

Oil on paper

h: 30 w: 21 d: 1 (cms).

One of a series of oil on paper studies based on memories of approaching the harbour in a boat.

£100

£50 (Unframed)

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Coming Home

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Storm approaching Daliburgh

By victoria mcqueen

Acrylic

h: 61 w: 61 (cms).

This piece was inspired by a photograph from DaliMach Strom-Pod. The sky just spoke to me as I had been caught in a downpour in Daliburgh a few years ago from such menacing clouds.

Size shown is artwork, as unframed.

£1250

£1150 (Unframed)

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Storm approaching Daliburgh

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Three Figures Searching No 7

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Haunter

By ilona skladzien

Charcoal on paper

h: 80 w: 86 d: 1 (cms).

During my visit to Athens in 2019, I came across a street banner with a photograph of a refugee child with a peculiar head net on; an image that stayed with me for the coming months. As a result of that experience, I set about exploring her relationship with the image and my memory of it through the means of drawing.

£870

£870 (Unframed)

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Haunter

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The Mighty Fiddler

By paddy richardson

Acrylic on Canvas.

h: 90 w: 70 d: 12 (cms).

I love music. It can transport me to places that leave the mundane, trailing far behind.In this painting i try to convey the out of world feeling that one can get when playing music.

£750

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The Mighty Fiddler

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"Empty houses"

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Early snow

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When my doll grew up

By elham khatiri

Acrylic

h: 70 w: 100 d: 2 (cms).

My past consists of toys and dolls, which I have always tried to look after, but every day passed in reality and in my mind. It did not alleviate the memory of them, and I never felt that I had lost them and grew up with them all the time. My interest in the puppets and dolls created them and the toys of my life in a new world and self - determination. I created new shapes for myself with the memory and the rest of them, and with my mental space, my own concerns, and now they " re the elements of art. I have made every one of these creatures from my old dolls and toys, and in a game I have painted a new version of my childhood, and I made my childhood narrative with a new world, and made a color space of the gray and discolored.

£750

£750 (Unframed)

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When my doll grew up

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Illumination

By Annie Musgrove

Oil on canvas

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

A wet walk on the moor with my two labradors making wet sketches and taking photos to collect information, was the starting point for this painting. As I walked, the sun came out through the storm clouds and illuminated a stretch of the moor. A hamlet glinted in the sunshine. Sunlight lifted the mood. Optimism returned.

£495

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Illumination

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Transcending Possibility

By Leonie Siri MacMillan

Oil on board

h: 28 w: 36 d: 1 (cms).

This painting is about transcending the great gulf of understanding between humans and cetaceans.

Humans stopped being apes about 5 million years ago while whales stopped being terrestrial about 40 million years ago. We know so little about our hugely evolved anscestors, and at the same time we are threatening their existance.

This painting is imagining our two species connecting , communicating and causing extraordinary possibilities to occur .

£200

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Transcending Possibility

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Night Bus on Bridge Street

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Arctic Cracking

By georgia rose murray

Oil, Gloss, Pigment on Board

h: 100 w: 320 d: 3 (cms).

'Arctic Cracking' depicts a glacial landscape and Fjord bay just north of Ny Alesund, Svalbard. The preparatory sketches and photographs for this painting were created in the moment, whilst sitting in snow, when I climbed a mountain which looked down on this incredible view. At the time I was sailing on 'The Antigua', Barquentine Tall Ship, as a participant of the Arctic Circle Residency. This painting was exhibited in China in 2019 and was due to be shipped to Iceland, as part of a solo show named 'One Body, One World', in March 2020, however this exhibition needed to be cancelled due to COVID-19. It would be great to exhibit Arctic Cracking as part of your 2020 Summer Show.

£3000

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Arctic Cracking

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Night Swims no.13, Night Villa

By Corn Shuk Mei Ho

Oil on canvas

h: 77 w: 102 d: 5 (cms).

“Night Swims Series” (2017-20) is a project which continues my journey to dive into the dark waters of the human psyche. The characters depicted in the paintings reflect a state of feelings including isolation, solitude, uncertainty and fear. The reflections dancing off of the dark waters surface are a symbolic description of these hidden emotions. They mirror the feelings of the characters as if they were like nocturnal animals that are only comfortable to feed and hunt in the dark.

£2400

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Night Swims no.13, Night Villa

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Spring coming

By lioubov arnold

Acrylic

h: 56 w: 81 d: 3 (cms).

Contemporary painting on canvas. Early Spring in the Forest. Trees bending, lying on the ground. Sun coming through bring lots different colours on trees. Blue sky.

£520

£440 (Unframed)

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Spring coming

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Scottish wild cat

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Red Deer Stag

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The poetry of Life

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Eko

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May 3

By christina riley

Seashells on paper (Digital Photograph)

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

The Beach Today
May 3 2020

https://twitter.com/cmarieriley/status/1257032351701438466

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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May 3

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The Price negates the Prize

By jane andrews

Oil on canvas

h: 127 w: 102 d: 5 (cms).

My work plays with character, identity and survival strategies in my efforts to understand, interpret and laugh at the complexities of life.

I am interested in the stories we construct and how they distract us from the factThe paintings evolve organically; I approach each composition as a conversation between myself and the viewer, using symbolism, both established and personal without definitive beginnings or endings; in the sculptures I’m looking for allegorical mottos that straddle the ecological, psychological and the existential

I look for humour to subvert and the ridiculous in the heroic.

£3000

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The Price negates the Prize

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Configuration

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Promise in green

By mauricio paz viola

Acrylic on canvas

h: 50 w: 60 d: 2 (cms).

The series Musical Interpretation attempts to interpret the musical vibrations through color, shapes and lines. I usually listen to Baroque music when I paint, but sometimes I also listen to electronic music or traditional Chinese music, as Chinese music has an important role to play with its concept of silence and emptiness, which I try to capture in this series. Paz Viola

From Silence to Sound: the Art of Musical Interpretation Hans-Georg Gadamer, father of modern hermeneutics, stated in his essay On the Problematic Character of Aesthetic Consciousness that regardless of the mode of artistic production or the theme addressed, art in any case is about determining the meaning of the experience that the artwork tries to convey. Some believe that the purpose of music is to express the dynamics of the human spirit: the flow of emotions, desires and ideas, and the accents, attenuations, futility, peace or outbursts thereof. This view presupposes alignment between music and human subjectivity. Others believe that the meaning of music is not beyond itself but rather, within its internal logic, and its arrangements of sound forms in movement, and the capacity to create a delicate balance between the relationship of forms within the discourse that is inherent to the music. This view implies that we humans have the inborn capacity to think musically, with its own logic, which can be expressed in an abstract manner through musical notation. Roberto Romero

£2800

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Promise in green

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Island Tiger

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Co-Vid 19 portrait No.3 - Trixie

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Mghotti

By joseph calleja

reconfigured found wooden frame

h: 41 w: 18 d: 24 (cms).

Mghotti - meaning to be covered or hidden.
This work takes the colour of the wall it hangs against, almost hiding itself in its unveiling.

£1400

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Mghotti

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Reclamation 5

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First Light?

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Mr Fox

By dawn conn

Bronze

h: 23 w: 45 d: 20 (cms).

Intriguing and mystical, created with inspiration from Celtic folklore.
The fox is associated with adaptability, and was thought to be a shape-shifter. Known as ‘cunning’ comes from kenning, meaning ‘to know’, without necessarily carrying slyness. It’s clever at adapting so that it assimilates into its environment even when this environment is changing rapidly.

In ancient Celtic time the fox symbolised passion, play and action because of its beautiful fiery red fur. The Celts believed that if a fox crossed your path in dreams or in daily life it was time to act passionately in regard to your goals, needs and wants. It was also time to lighten up and be playful and have fun.

£1800

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Mr Fox

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Toledo Blades II

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The Viking Ship and the Dragon

By riitta santala-köykkä

Tempera on plywood

h: 30 w: 15 d: 2 (cms).

A dragon sailing in stormy winds

peeled its eyes and breathed fire

when it spotted a lonely ship

ramming through gusts of wind.

The ship saw villagers fleeing for life.

“Don’t you run! I am gentle!

I will protect you from the dragon!”

Men turned around and rushed into the ship.

Women gathered all children under their petticoats

and spurted away as quickly as mice.

The dragon went fuming furious,

caught the ship in its talons,

then wrenched and shook it,

howled and raged.

Mad and frantic, it flew to the Outer Hebrides,

hurled the ship into the land and burst into gales of laughter.

Men staggered out, throwing up.

The dragon purred.

Thus began the Vikings’ journeys.

I took part in them when I was very little.

Once I fell into the water from our vikingaskeppet.

My father drank up the sea.

This story is true.

Poem by Riitta Santala-Köykkä

£700

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The Viking Ship and the Dragon

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ST

By anna grajek

glazed ceramic

h: 7 w: 16 d: 16 (cms).

Small fired stoneware sculpture with flat pebble-like base glazed matt and curled finger detail coloured pink and glazed in gloss. Black interior surface.

The title is an abbreviation of 'Self-taught' artist, as a form of irony at the qualifications which artists now commonly have to list in order to ressure the viewer/curator/buyer.

£1000

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Botanic

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From Achmore to the North Harris Hills

By charlotte ambler

Oil

h: 51 w: 76 d: 4 (cms).

I fell in love with the Outer Hebrides during a holiday to Lewis and Harris in 2017. We stayed at Achmore and this painting is the view we had from the cottage. I took so many photos because the view was different every time I looked at it depending on the light and the weather. The photos this painting is based on were taken in the early evening at the end of the first day the weather had been clear. The sunlight reflecting off the water and the distant mountains finally clear of mist were captivating. I've tried to capture the colours I remember, and give a sense of civilisation perched on the edge of a wilderness.

£575

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From Achmore to the North Harris Hills

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Dark Cloud

By elizabeth wood

Digital Image on Alupanel

h: 91 w: 66 d: 6 (cms).

This sunset image was taken one summer evening over the Pacific Ocean. I am drawn to the dark cloud looming in the lower part of the image which seems ominous juxtaposed against the brilliant bright pink hue of the sky.

£500

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Dark Cloud

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Storm Cloud

By elizabeth wood

Digital Image on Alupanel

h: 68 w: 33 d: 6 (cms).

This work is a digital image printed directly onto alupanel (an aluminum composite). The digital image is a detail of the sky taken from a painting by Aelbert Cuyp (Dutch, Dordrecht 1620–169, titled Young Herdsmen with Cows. The title 'Storm Cloud' highlights the foreboding aspect of the dark clouds that rise up from the lower part of the vase. Containing the image of a boundless sky within the shape of a classic Greek vase is intended to create an invigorating cognitive dissonance similar to how our inner self can spar against the public self we project.

£350

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Storm Cloud

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Untitled

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'MAELSTROM • 7' • 2020

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uig blue

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Clear sands

By rebecca styles

Charcoal , Gesso , Acrylic , Ink , Tempera

h: 30 w: 40 d: 1 (cms).

This work was inspired by a visit accross the bay to Reef beach with its crisp clean vistas and pure whte sand

£120.00

£120.00 (Unframed)

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Clear sands

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visable/inviasble

By rebecca styles

Charcoal , Gesso , Acrylic , Ink , Tempera

h: 30 w: 40 d: 1 (cms).

Across the water to Reef and the mountains of Uig , from my studio i can see the scene change daily , my favourite time is when the weather envelopes the landscape and in all it's huge and mighty magnificance it just disappears , this work was inspired by that game of now you se me ... now you don't .

£120.00

£120.00 (Unframed)

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visable/inviasble

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Islands Edge

By orla stevens

Textile binder and embroidery on Linen canvas

h: 60 w: 80 d: 4 (cms).

Part of a larger body of work 'sight and sound' exploring land, sea and sound-scapes of the north atlantic and outer hebrides. The project explores repurposing industry waste linen, blending my textile print and embroidery background with landscape painting practice. This piece focuses on shifting light and reflections as seen by boat, looking back towards the islands silhouette.

£595

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Islands Edge

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Bright Water

By sue lee

Watercolour and Acrylic Ink

h: 30 w: 30 (cms).

This painting was inspired by a trip to Lewis. I wanted to capture the feeling of the beautiful scenary - the dramatic skies we had seen, the turquoise waters, views of headlands and the textures of sand and rocks.

£100

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Bright Water

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Sun's Highlight

By sue lee

Watercolour and Acrylic Ink

h: 35 w: 25 (cms).

I used watercolour to capture this view accross the loch when walking on Lewis. I used the paint loosely to capture the atmosphere - the feel of the water and the texture of the sand and the sun highlighting the roof of the building. Acrylic ink was used to draw the rocks. Texture was created by the use of granulating paints and gold ink in the foreground.

£80

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Sun's Highlight

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Where Eagles Circle

By sue lee

Watercolour

h: 25 w: 35 (cms).

In 2019 we took a trip to North Uist and this painting was inspired after a walk at Pobull Fhinn. It was a very bright day in late May and I wanted to capture the intensity of the light that defined the standing stones. I was stunned by the beauty and the history of that landscape and when we got near the top, eagles were circling above.

£80

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Where Eagles Circle

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Aéras_2

By theodoros fragkos

Hand-curved woodcut, Printed on Cotton Paper

h: 54 w: 42 (cms).

Aéras is my ongoing Woodcut Printing Series, focusing on the importance and the essential role that wood, as a matterial, plays on particular professions that I 'm very connected with. Aéras_2 is spotlighting the kinesiology of a pole-climber electrician, and how they handle the wooden pole, which their life is based on, on that moments of service. My father is working on that profession since 1975.

£200

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Aéras_2

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Iron Bird 2

By theodoros fragkos

Acrylics on Canvas

h: 70 w: 50 d: 4 (cms).

During the COVID-19 lock-down I kept on developing my ongoing painting project Tefra Airlines, that it used to present imaginative situations with (mainly) airplanes starring in surrealistic situations. In the lockdown period I decided to focus on the formalistic part of the airplane and paint them static and sleepy, dreaming of their future flights.

£540

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Iron Bird 2

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Portrait of Rev Willard

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Setting Sun 5

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Towards the West

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Synaesthesia Dream

By ruxandra mitache

ink on paper

h: 170 w: 45 d: 1 (cms).

The Synaesthesia Dream project is carried out by Ruxandra Mitache in 2019.
The project consists of visualizing the image through sound and sound through the image.
The project concerns a meditative and transitory process in which the relationship with nature and light is essential to my practice.

In light and nature, I find an active inspiration, the generated forms offer an immersion in the processes of transformation and regeneration.
Synaesthesia Dream consists of painting with Indian ink on chinese paper.

£300

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Synaesthesia Dream

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The Birth of a Philosopher

By mohamed sami gattoufi

Canvas

h: 70 w: 50 d: 3 (cms).

This artwork deals with the concept of the birth of a genius, thinker and a philosopher. In fact, I believe that real intellectuals have to experience and see the melancholic nature of life in order to come up with the greatest ideas. Philosophers, for me, are the real eyes of the human species. This artwork comes out as a scene of an underworld where everything is part of the ruins. Most of the ruins are allegories of some of the most fundamental ideas humans had. In the middle of the canvas we notice the philosopher rising from the ashes. The buried hand is an allegory to the famous quote of the great philosopher Nietzsche : "God is dead". In fact, the philosopher, the thinker and the artist are the real successors of the gods.

The artwork was a challenge to me, since I made it in time of desperate need : I didn't have enough art supplies to paint what I imagined. So, I made a decision to paint this artwork with only three (3) paint colours : Red, Brown and Orange. These colours helped me to achieve the "angry" feeling of the thinker against the reality he found himself in. Then I managed to add some yellow paint in some details.

£3000

£3000 (Unframed)

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The Birth of a Philosopher

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Hope

By leslie edwards

Acrylic on Board

h: 46 w: 66 d: 1 (cms).

I selected Whitby Abbey as the focal point of my work .Using the shadows of the Abbey to depict the menace of the Corona virus but then the rising sun chases away the despair of the darkness and brings new hope through the rainbow.

£150

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Hope

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Tenderness

By ganna borzenkova PhD, MSc(Hons), BA(Hons)

watercolours

h: 70 w: 50 (cms).

One of my passions is watercolour painting. I enjoy the fact that watercolours can both be controlled and be allowed to run, splash and mix. This gives me an opportunity of keeping certain areas of the artwork tightly composed, while at the same time the other parts of the work can be loosen up at any time, making the process of painting both unpredictable and rewarding. I try to use vibrant colours and lively brushwork with splatters, splashes and dribbles to breathe new life into my watercolours. I never short of motivation to paint and find my inspiration mainly from nature.

£1350

£1200 (Unframed)

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Tenderness

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Gateways of Peat, Gallen Head

By Margaret Uttley BA (hons)

Charcoal and Graphite

h: 146 w: 70 d: 4 (cms).

'Gateways of Peat' was worked as part of the 'Edge of Sight' exhibition at An Lanntair in 2018. Gallen Head is quite an intriguing place. It holds a history of protection from the Ministry of Defence occupation, whos presence is evident from the abandond bunkers. Its exposed remote location, quietly eminates a presence of power and energy which makes me question my own sense of place.

£1800

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Gateways of Peat, Gallen Head

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Uig Sands

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