Hulabhaig : Uig Open 2020: Re-imagined Online

Luskentyre Wave

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Achmore, Lewis

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Chickens

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The Woodland Pond

By marion boddy-evans

Oil paint on wood panel

h: 30 w: 23 d: 1 (cms).

A plein-air painting done in the little woodland at Uig on Skye, done on a crisp winter's day.

£175

£175 (Unframed)

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The Woodland Pond

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Roif, uig, isle of lewis

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Clutch

By jill miller

oil on wood

h: 28 w: 36 d: 2 (cms).

Clutch studies the interaction of flesh, fabric, and the under painting blue and background gray colors. The folds of the fabric form patterns of shadows and variations within the white, gray, sepia and red colors. The surface of the gray background contrasts with the detailed texture of the fabric. Combining narratives through paint, I consider elements such as liminal space, tension, color and gesture to determine what is revealed versus what remains hidden. Bringing ideas of human emotion into physical, cohesive visual representation through paint engaging with flat surfaces is the aim of the work.

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Clutch

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Breathe Triptych

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Cloif Machair, Bhaltos Peninsula

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unheard voices

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'MAELSTROM • 5' • 2020

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Sea, Beach

By david knight

Collage Paper, Acrylic Pain.

h: 60 w: 89 d: 4 (cms).

Collaged paper edges form the structure of this painting. The edges create points where the paint runs and pools as water might fall over rocks and move over the beach surface. The paint also veils and washes over drawn marks below the surface, again a metaphor for water running over rocks and pebbles. An organic irregular outside shape is created through the torn collaged paper; this heightens movement and continuity, giving a sense of how the water could break away from the edges.

£680.00

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Sea, Beach

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Revelation of the Mole

By veera kaamos pitkänen

Hand cut paper collage

h: 72 w: 47 d: 1 (cms).

The artwork brings into focus the voiceless in our society - the overlooked, insignificant or small. The collage is based on an apocalyptic nightmare the artist had as a child, wherein she was trapped inside the body of a mole, burrowing endlessly under a lifeless hill while the world was ending.

In 'Revelation of the Mole', a lonely tree with a skull on its base stands on a high hill. The symbolism, Golgatha-like, suggests that the choices and actions of man have banished all life and hope. The inversion of the natural perspective in the artwork, where sky and earth have switched places, questions constructed hierarchy and our worldview.

On the upper part of the work, framed against a black square, the lone mole rises triumphant. Small yet independent, it defies and conquers death, banishing despair.

'Revelation of the Mole' consists of over 160 hand cut pieces. No digital tools, copy machines or printers have been used in the process.

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Revelation of the Mole

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Royal

By george tofan GT

Stretched cotton canvas

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

This painting is called "Royal", as it represents a japanese crane with motifs that recall royalty (especially the use of gold in this piece made me go towards that theme). It is made entirely using acrylic paint, applied with brushes and sponges.

The background is quite simple as the focus falls on the bird. The notes hanging from the clouds have japanese charachers on them which translates to "queen" and "king".

As in all my paintings, I extend the same background on the borders of the canvas as well, as I view the piece of canvas as a whole and you can enjoy the painting from whatever angle you like.

£150

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Royal

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Corporate Crush

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introVextro

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Landing

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Geo (Point, Lewis)

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Stones taller than a man

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In my pink world

By vasja grabner

oil on canvas

h: 150 w: 100 d: 3 (cms).

Painting work with a child with dirty glove and closed eyes represents the immaturity of man in the modern world. It represents the relationship to the world we live in and the dark future we are sinking into. The dominant glove posture that is currently seemingly effective protection against pollution is therefore only a short-term illusion. The work is a call from childish daydreaming to the serious acts of humanity.

£9000

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In my pink world

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On Taransay

By barry idris jackson

Monotype and acrylic overpaint

h: 40 w: 45 d: 4 (cms).

A monopribt with additional painting - an image that evokes a day spent on Taransay.

£450

£375 (Unframed)

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On Taransay

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The Mist of Lewis

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Hidden within the Standing Stones

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The Expanse

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The Water Of Harris

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Mountain Hares

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'North'

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Ferro galleggiante

By piero bortoli

stained glass, plaster, acrylic on board

h: 35 w: 25 d: 3 (cms).

Ferro Galleggiante,

Represents the bow of a Venetian Gondola floating to the sea and travelling to the most remote parts of the world where it connects with all the sea bordering countries and creates a bond of indestructible friendship.

£300

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Ferro galleggiante

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On Scarp

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Callanish

By lindy furby

Collagraph

h: 13 w: 78 d: 2 (cms).

Callanish is a concertina artist’s book of the Callanish stones in Lewis. The format is appropriate to the content as it can stand freely like the stones. I collected the image painting en plein air whilst travelling in Lewis. I made 3 collagraph plates the front, back and main body of the book. I inked up the plates a la poupee with all the colours at once. The result is that although I have made an edition of 10, each edition is subtly different.

£120

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Callanish

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Squall over Harris

By lindy furby

Collagraph

h: 26 w: 17 d: 1 (cms).

This is a collagraph print of a view in Lewis across to the mountains of Harris. I collected the image painting en plein air whilst travelling in Lewis in my camper van. I particularly liked the squall of wild weather speedily crossing the landscape. Typical Lewisian weather. The sun followed after.

£70

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Squall over Harris

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Portrait

By james hallinan Mr

Oil, ink, pastel on canvas

h: 43 w: 31 d: 15 (cms).

Self portrait that attempts to visualise the process experienced while painting about emotive subjects. The piece has undertones of personal views on self while projecting the the work process of the artist onto the piece. The wish would be that the viewer experiences a want to protect the sitter as well as feeling uncomfortable to.

£685

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Portrait

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Callanish Stones Through The Viewfinder

By iain gallacher

Photography

h: 420 w: 595 d: 5 (cms).

Callanish Stones Through The Viewfinder.

I had seen many photos online of the Callanish Stones before visiting this landmark so as a result I was keen to create a different perspective.

£475

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Callanish Stones Through The Viewfinder

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Swept

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Hebridean diptych - excavator and waders, wheatear and turbines

By leo du feu

watercolour on paper

h: 35 w: 28 d: 3 (cms).

As the title says: an excavator dangling its head above the beach, ringed plover and dunlin barely noticeable among the strand; a wheatear standing proud to a backdrop of turbines.

I have chosen to present the works I am submitting as a series of three diptychs (two small or miniature watercolours within each of three frames) to give a sense of the varied nature (and nature!) of the islands and of my journey to/through/across them.

£475

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Hebridean diptych - excavator and waders, wheatear and turbines

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Hebridean diptych - cliff and croft

By leo du feu

watercolour on paper

h: 35 w: 37 d: 3 (cms).

Jagged cliff pinnacles, shell of a ship, silver bay crofts, hills behind.

I have chosen to present the works I am submitting as a series of three diptychs (two small or miniature watercolours within each of three frames) to give a sense of the varied nature (and nature!) of the islands and of my journey to/through/across them.

£475

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Hebridean diptych - cliff and croft

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Hebridean diptych - white tail and hill fog

By leo du feu

watercolour on paper

h: 33 w: 37 d: 3 (cms).

This white-tailed / sea eagle flew right over, close and slow. One of several seen during our time on South Uist and the best by far view I've ever had. It spilled from the hills as mists in the morning.

I have chosen to present the works I am submitting as a series of three diptychs (two small or miniature watercolours within each of three frames) to give a sense of the varied nature (and nature!) of the islands and of my journey to/through/across them.

£475

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Hebridean diptych - white tail and hill fog

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Downpatrick Redhead

By rod coyne

oil on canvas

h: 20 w: 25 (cms).

“Downpatrick Redhead” is one of a series of paintings born out of Rod Coyne’s passion for the Wild Atlantic Way. The original picture is acrylic paint on canvas and measures 25 x 20 cm (10”x8” inches) .

Rod Coyne’s “Downpatrick Redhead” does not depict a firey red-haired maiden. The title is born out of the artist’s mischievous nature but the picture actually shows Western Ireland’s coastal gem; Downpatrick Head.

£395

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Downpatrick Redhead

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Weather Closing In, Akureyri, April

By linda barlow ARBSA

Oil, cold wax,pigment, peat ash on Arches paper

h: 40 w: 50 d: 20 (cms).

Created after watching an approaching storm whilst visiting Akureyri during an Icelandic residency last year.

£300

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Weather Closing In, Akureyri, April

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Murmuration II

By trevor parker

Screenprint (6 colour), Edition of 7

Murmuration I/II are works that respond graphically to the movement of animals and their ability to move as a single body or unit. Their ability to remain separated from each whilst moving is still debated and several hypotheses exist as to how it is achieved, but it is generally agreed that movement is dependant upon sensory responses being applied to genetic "set of rules". These works have ironically become more pertinent during the recent COVID 19 pandemic where the the human population is being asked to separate to a specific set of rules to ensure no interaction or contact.

£180

£180 (Unframed)

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Murmuration II

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Holly Tree, Dartmoor

By ian cox BA(Hons) SWAc

Relief Lino Print

h: 45 w: 41 d: 1 (cms).

A limited edition of 30 relief lino prints - 2 of 30 is available here as an unframed print. This is a Variable Edition - so each print in the series is distinctly different although all are closely related - if this print is sold via this exhibition additional prints from the series are available.

This is a detailed three colour lino print produced during June 2019 and printed on high quality 225gsm Zerkall art paper.

The price includes delivery to a UK address - I need to add £40 if delivery is to an address elsewhere in Europe.

£420

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Holly Tree, Dartmoor

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Harbourne River, South Dartmoor

By ian cox BA(Hons) SWAc

Relief Lino Print

h: 33 w: 50 d: 1 (cms).

A limited edition of 9 relief lino prints - available here as an unframed print.

This is a highly-detailed three colour lino print produced during April 2020 and printed on high quality 225gsm Zerkall art paper.

If this print is sold via this exhibition I have additional prints available. The price includes delivery to a UK address - I need to add £40 if delivery is to an address elsewhere in Europe

£420

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Harbourne River, South Dartmoor

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Murmuration I

By trevor parker

Screenprint (6 colour), Edition of 5

h: 32 w: 40 (cms).

Murmuration I/II are works that respond graphically to the movement of animals and their ability to move as a single body or unit. Their ability to remain separated from each whilst moving is still debated and several hypotheses exist as to how it is achieved, but it is generally agreed that movement is dependant upon sensory responses being applied to genetic "set of rules". These works have ironically become more pertinent during the recent COVID 19 pandemic where the the human population is being asked to separate to a specific set of rules to ensure no interaction or contact.

£180

£180 (Unframed)

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Murmuration I

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The Kingdom of Lapithos

By hun adamoğlu RBA

Oil on Canvas

h: 102 w: 61 d: 2 (cms).

Cyprus landscape painting

£15000

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The Kingdom of Lapithos

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The Enchanted Forest

By rae melody

Acrylic, gold leaf paint, spray paint and resin on canvas.

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

Lovingly hand painted, colourful, multi-layered artwork depicting large fantasy flowers. Based on natural forms discovered on my travels the images in the painting are a combination of real and imaginary flora. I have aimed to create a sense of magic, happiness and wonderment when the viewer looks into it.

£1495

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The Enchanted Forest

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Dartmoor Hedgerow #3

By ian cox BA(Hons) SWAc

Relief Lino Print

h: 26 w: 59 d: 1 (cms).

A limited edition of 20 relief lino prints - available here as an unframed print.

This is a highly-detailed two colour lino print produced during April 2020 and printed on high quality 225gsm Zerkall art paper.

If this print is sold via this exhibition I have additional prints available. The price includes delivery to a UK address - I need to add £40 if delivery is to an address elsewhere in Europe

£420

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Dartmoor Hedgerow #3

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Celtic Conversation/Protection

By valerie james

Mixed Media

h: 52 w: 35 d: 5 (cms).

Celtic Conversation/Protection is a mixed media painting, watercolour onto heavy textured paper with a gesso base. Above the watercolour is cold wax oil and pastel. The work is framed and ready to hang.

£795.00

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Celtic Conversation/Protection

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Connections

By karen ebbs MA Fine Art, Painting

Oils on canvas

h: 100 w: 110 d: 3 (cms).

Here, the theme of connection is explored; how everything that exists does so in relation to something or someone else. Whatever we focus on at any given moment takes shape in the form of our reality and what we see.

£1500

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Connections

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Solar

By clare yarrington

Collagraph print, oils and pencil

h: 46 w: 46 d: 2 (cms).

'Solar' is a new work, created during the Coronavirus lockdown, in which I experiment with different forms of mixed media. For the first time, I used painted canvas instead of paper as a base, upon which I then collaged fragments of torn collograph prints before finishing the work with paint and pencil drawing. The cadmium orange background is inspired by the luminous sunsets of the Western Isles while the composition as a whole reflects the abstract curves and lines of the Callanish Stones and the wheeling path of the sun as it tracks its course through time.

£550

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Solar

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Plockton

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Clymdych

By alexandra harley

painted ceramic, coloured wire on steel armature

h: 38 w: 56 d: 39 (cms).

Clymdych is a constructed ceramic sculpture made from multiple elements that are tied into position with coloured wire. I try to generate a sense of movement in my sculptures and capture a particular moment. With clay, I make use of the potential to fold in on itself, creating an internal energy pulsing through a complex construction. The warped, folded, squeezed and buckled fired clay is then held in tension by wire. The wire pulls taut against the organic and more fluid clay, encasing the individual elements and compressing the space between them as it pulls the pieces together. Each unique piece of clay is brought alongside its neighbours, simultaneously jostling for position and cradled against each other. They are held in place by the binding but still wanting to break free from the constraints. The bindings play a dual role indicating a direction and development of movement as well as containing the movement within.

£500

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Clymdych

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Birch beauty

By jenny haslam

Watercolour and printing

h: 40 w: 30 d: 6 (cms).

I have used natural grasses and leaves to print on water color paper - in the garden in the sunshine. I then painted the birch trees sitting in Binnings Wood in East Lothian. Glorious afternoon!

£150

£100 (Unframed)

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Birch beauty

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The Spirit of the Hebrides - small version

By cathy bain

Upholstered chair

h: 80 w: 50 d: 45 (cms).

The Spirit of the Hebrides

Base

Made from half a whisky barrel from Abhainn Dearg distillery, upholstered with Harris Tweed 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 falp of the kilt is lifted it reveals a leather strap that pulls open and automatically lights up via sensors the inside of the barrel to reveal three spirit bottles. Abhain Dearg Whisky, 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

This is made from larger whisky barrel staves from the Abhainn dearg distillery and upholstered with Harris Tweed. These staves 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.

Seat of chair

The seat is upholstered with celosia velvet fabric imprinted with the iconic lewis Uig 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 follow 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 wood that represent the ripples of sand and sea around the shores of our beautiful islands.

This chair is curently exhibited at the Callanish Exhibtion centre and comes with a photobook that shows the journey of the chair and the inspirations that made me design it.

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The Spirit of the Hebrides - small version

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Smarty Hearty

By rae melody

Acrylic, gold leaf paint & resin on canvas

h: 102 w: 102 d: 4 (cms).

An abundance of love, dripping in gold, a sugary high with the colours of sweets. Smarty Hearty’s bold and sumptuous glossiness bubbles over with happiness and joy.

£1295.00

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Smarty Hearty

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Vinculum

By alexandra harley

painted ceramic, thread, on wood

h: 16 w: 14 d: 12 (cms).

Vinculum 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. The space between the clay elements is compressed, each unique piece of clay is brought alongside its neighbours, jostling for position and both cradled against each other, held in place by the thread but still wanting to break free from the constraints. The compressed space becomes an active and significant component with a taut physical presence and a significantly physical role in the sculpture.

£400

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Vinculum

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non-doing #2

By ben stott

digital video

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

This film explores slow movement as reanimation of found objects - a process of becoming in Simone Schmidt's term, "body-object". Using detritus found on Crosby Beach, Merseyside, the artists created surreal costumes that would render them not-quite-human, not-quite-object. Simultaneously moving through liminal space between land and sea, between object and subject, the boundaries seemingly become blurred - do the artists animate the objects or do the objects animate the artists? At the current moment, this work speaks to a sense of being 'in limbo' or stuck inbetween, waiting, neither here nor there. Perhaps we are all experiencing one kind of limbo or another at the moment - waiting to move freely again, to be in physical proximity, to do something other than think of past or future.

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non-doing #2

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too bright for dreich, too damp for fine

By karen monaghan BA(hons) post grad diploma

Acrylic

h: 59 w: 74 d: 2 (cms).

I painted this image from sketches made on the point of Ness, in Orkney, on a wild and stormy day late in 2019. The light and weather changing minute by minute was challenging but inspiring. I wanted the viewer to feel connected to the elements and not just the place. It is important that we feel connected and feel a sense of place in the world. The rise in poor mental health in young people is compounded by lost sense of place in an ever changing world. We are all connected by the elements in a very basic and spiritual way. I want the viewer to feel that. I used layers of coulour, scratching back and washing away to give flickers of something else. Something half seen or half forgotten. The lighthouse is only barely visible, making us question what is really there, apart from the weather

£750

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too bright for dreich, too damp for fine

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Reflections

By anna hryniewicz

acrylic on canvas

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

About a series "Undiscovered Worlds":

This artwork “Reflection” is a window into realms that are around us, but they also lie beyond the vanity of worldly affairs. It is an abstract landscape of undiscovered, uninhabited places like Hebrides, full of myserious myths and sea creatures. I have a feeling that there is more going on than we know. I need to explore these unseen realms, relying on my intuition to find the answers I seek. As my attention sinks into the imaginary worlds, it gradually loses the dynamics of ordinary perception. It is a collection of works that gives you the unique possibility of visiting strange and remote places that no man has ever seen.

£350

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Reflections

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blaw

By karen monaghan BA(hons) post grad diploma

Acrylic

h: 85 w: 85 d: 1 (cms).

This painting was made in the studio from sketches done in the North West highlands when I cycled the NC500. I had the minimum of materials to keep my pack lightweight, but was able to make many images and keep a picture diary. This was a hybrid of those sketches in which I wanted to give the impression of space and freedom and also capture the sense that everything could change a minute later. I peeled paint from yesterdays palette to make texture in the sky. The weather sometimes feels visceral. What we see, and what we know is there, can be very different and as we draw on our instinct and not our intellect it can inspire fear; wonder;alarm; awe. The solid elements of texture is a play on the solidity of the elemental forces upon us

£750

£650 (Unframed)

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blaw

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Silent Shore, Tory Island

By josie mcmorrin

Etching

h: 62 w: 52 (cms).

This etching is one in a series of works made from drawings and observations in Island locations, this one on Tory . My interest is in how human habitation has changed or modified the landscape.

£445

£325 (Unframed)

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Silent Shore, Tory Island

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The Vail

By june sira 280665

Tempera on canvas

h: 110 w: 100 d: 3 (cms).

Large portrait of a young girl.
Painted with tempera on primed linen canvas, stretched on a wooden frame. Ready to hang on the wall.
Tempera is a permanent, fast-drying painting medium consisting of colored pigments mixed with a water-soluble binder medium (egg, oil and water). Tempera paintings are very long lasting, and examples from the first century AD still exist. Egg tempera was a primary method of painting until after 1500 when it was superseded by the invention of oil painting.Leonardo da Vinci and Botticelli are exampels of artists using tempera

£4500

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The Vail

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because we didn't listen

By karen monaghan BA(hons) post grad diploma

Acrylic

h: 105 w: 85 d: 1 (cms).

Travelling throughout Scotland, its islands and remote places, I am always awed by the beauty of the landscape and particularly the beaches and coastline. Like most people I am concerned about the legacy we leave behind for our children. Plastic polution, air quality and overuse of our resources is of great concern to me. This image was in response to governments worldwide, refusing to commit to environmental initiatives while individuales strive to make changes.

Paint peeled from yesterday's palette was used to form texture in the under layers. Not only as a connection to the paintings before and the ones to come after but also as a way of safely disposing of / re-using the paint. I think the image can speak for itself without the words pencilled on, but once they have been read they stay with you when you see the image.

£850

£750 (Unframed)

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because we didn't listen

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Coastal Pattern/ Cape Clear

By josie mcmorrin

Collograph

h: 27 w: 20 (cms).

I made this collograph while on a wknd course with Edinburgh printmakers. I found the change of technique instrumental in adapting the image for print.

£185

£130 (Unframed)

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Coastal Pattern/ Cape Clear

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Remains/ Achill Island

By josie mcmorrin

Etching and carborundum

h: 76 w: 58 (cms).

This print is one in a series made from drawings and observations on Island locations, this one from "The Deserted Village" on Achill.

£565

£415 (Unframed)

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Remains/ Achill Island

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Water's Edge

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Forgotten times

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Breakwater

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Colours of shadows

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ECHOES OF THE SILENCE XVI

By j. (jie) li

watercolor on Arches papaer

h: 99 w: 114 (cms).

Traditional Chinese scholars like to express their feelings through beautiful depictions of nature, thus placing a significant emphasis on the innate ties between man and the environment in which he lives. Likewise, J. Li draws upon on those connections albeit in regards to the dilapidation of our natural surroundings. Unlike the odes to beautiful nature of the past, J. Li hopes to call attention to the current destruction of nature, perhaps in turn as a reflection of the inner decay of man.

£2500

£1900 (Unframed)

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ECHOES OF THE SILENCE XVI

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Sea Pool I

By antonia glynne jones BSc, MA

Oil on canvas

h: 60 w: 92 d: 2 (cms).

This work (the first 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.

£1600

£1450 (Unframed)

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Sea Pool I

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a broken line

By mary trodden

Pencil and aper with digital amendment

h: 60 w: 35 (cms).

These Drawings are pictures of an imagined life cycle, a journey through the thresholds of birth, adolescence and maturity. I drew them freehand in quite a chaotic way on bits of found paper from my Dad’s house in Sunderland and assembled the pieces with bits of sticking tape. I then drew corresponding geometric shapes over the top of them, scanned them and digitally altered then in preparation for screen printing..

They show a woman who is working with the sea..she is making protective talismans and garments.

£200

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a broken line

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Highland way

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Princes Street, Edinburgh

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Rock pools

By laura gill

Acrylic on canvas

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

My favourite thing. Rock pools to explore. Another painting from memory only. So I make no apologies for geographic I accuracies. Just how I remember the beautiful Hebridean beaches in my head.

£195

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Rock pools

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Silver birch on the edge of the Lochan

By laura gill

Oil on canvas

h: 38 w: 55 d: 5 (cms).

I just love silver birch. I remembered seeing these sparking so brightly on the edge of a wee lochan. It'd been pouring rain, and the sky was as dark as night, but suddenly the sun shone through, and the trees shone bright silver against the inky sky.

£295

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Silver birch on the edge of the Lochan

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Pebbles and rock pools.

By laura gill

Acrylic on canvas

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

Another painting from nothing more than my own memories of hunting in rock pools. Based on trips to lewis and harris, it's not really anywhere definable, just a painting trying to capture the mystery and absolute joy of rock pools ....

£295

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Pebbles and rock pools.

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Thanks, Mister Eggleston

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Fallen Aspen, Isle of Lewis

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Scurdie Ness Lighthouse, Montrose

By gillie whittle

Watercolour

h: 37 w: 41 d: 1 (cms).

Scurdie Ness is a headland located on the South side of the River Esk estuary. The lighthouse was built in 1870 following numerous shipwrecks and loss of life round the mouth of the estuary. From the lighthouse there is a great view of Montrose and the coast.

£170

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Scurdie Ness Lighthouse, Montrose

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“O body swayed to music, O brightening glance, ” ? William Butler Yeats

By christina crotty Bracken Lodge

Acrylic on Canvas with Gold Leaf and Gold Powder

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

Among School, Children is a poem by William Butler Yeats. I take inspiration from Yeat's poetry and his mystic atmospheres which he translates into words are brought forward to my instincts and thoughts for painting. I have been fascinated by Picasso's family of Saltimbanques, which depicts the ultimate loneliness and isolation of Man in this incomprehensible world according to the bohemian–Austrian poet Rainer Maria Rilke (1875–1926). Music is not being played but is about to be played or has been played. The image is a moment in time with Picasso's group encapsulated in a top-left area, isolated. I like to experiment with primitivism.

£5500

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“O body swayed to music, O brightening glance, ” ? William Butler Yeats

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Mitre

By timothy ingleby

Fabric and Ice

h: 30 w: 50 (cms).

Mitre is an ephemeral construction made with nothing more than fabric and ice. It forms part of a series of works of ‘structural art’ by the artists: pieces that explore ideas of economy, efficiency and elegance.

Each work is created in a remote location subjected to an extreme environment. Through their material and formal qualities, the works respond to their physical and cultural context, amplifying or accentuating the sense of place.

Out of respect for the beauty and fragility of these sensitive locations, works are made wholly from inert materials and designed to exist for no longer than a few days. They cannot be visited and leave no trace of their construction. Photographs provide the only record of their existence.

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Mitre

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High Tide

By olivia irvine

collaged monoprints

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

Using old monoprints from several years back, I cut up and collaged a scene from memory. The image is based on a family on a beach in the west of Berneray where we spent a few days last year. The image is not specific to any particular beach, but rather is a mixture of several memories. The black and white of the monoprints gives a harsh, almost filmic feel to the scene.

£720

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High Tide

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Red Square, Moscow

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White Gate

By olivia irvine

fresco on panel

h: 30 w: 45 d: 2 (cms).

This painting is done in the traditional technique of buon fresco, where pure pigment and water is applied to lime plaster. The plaster is pressed onto hessian which is glued to a wooden panel. Like a lot of my work, the image is from memory. We spent a family holiday in Lewis last year and I did some drawings through the window of the garden path and gate. This isn't specific to that actual place, but gives the feel of looking out onto a promising scene. I imagine it is morning and the whole day of adventure is ahead. Although the window and gate create barriers, they are only barriers to the imagination.

£450

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White Gate

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Red Head (The Hunter)

By nick ivins

Oil and oil stick on panel.

h: 93 w: 204 d: 5 (cms).

A kayak fisherman leaves the safe embrace of harbour, paddling out into open sea in the direction of a sunlit headland, and in the pursuit becomes at one with boat and fishing lure. I paint the exhilaration and ecstasy of this moment lived in the raw, pursuing a playful exuberance in paint that threatens to descend into chaos. In aspiring to make contemporary cave painting (or even a crudely cased trophy fish) my work declares a self centred but brittle vanity; fragility before the engulfing wave; a yearning for the unattainable; a sexual desire and the ever present threat of death, of fishing and fucking.

£5000

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Red Head (The Hunter)

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Penthouse Suite, Cambodia

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Your legend ever will

By elina grosul elina1211@mail.ru

Acril, canva

h: 100 w: 140 d: 6 (cms).

. Elton John, Candle in the wind ( Goodbye England's rose) Your legend ever will

£15000

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Your legend ever will

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What next, Mykonos

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Uachtarán

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Make-do-and-mend I

By juliet bankes MA fine art print

Monotype, with stitch

h: 24 w: 19 (cms).

Printmaking during the lockdown has been a challenge and so have devised a way of making work with stitch and collage

£80

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Make-do-and-mend I

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'Caernarfon Depths'

By kate cochrane

Mixed Media

h: 44 w: 56 d: 2 (cms).

Caernarfon Castle was a motte-and-bailey castle from the late 11th century until 1283 when King Edward I of England began to replace it with the current stone structure. The town and castle acted as the administrative centre of north Wales, and as a result the defences were built on a grand scale.

A view from the top of the castle ruins looking down into what was possibly the Great Hall. One of several castles built by Edward I during his reign across north Wales and a truly impressive building.

£405

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'Caernarfon Depths'

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'Reivers' Feud', Cessford

By kate cochrane

Mixed Media

h: 41 w: 47 d: 2 (cms).

When we were little we occasionally had a picnic in the field by Cessford Castle, and I took my family there when they were small. Now even more ruined, and still full of pigeons, but very much part of the history of the Border Marches and the raids from the feared Reivers. Cessford was the principal stronghold of the Kerrs, notorious Border Reivers, many of whom served as Wardens of the Middle March. Reivers is the derivation of bereaved.

£405

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'Reivers' Feud', Cessford

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Make-do-and-Mend II

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Stornaway Harbour

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Concerto

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Arboreal.

By jim roseveare mr

Black and white photographic print on Hahnemühle Fine Art paper

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

Riffing on the entangled wild wood of myth, archetype, computer games and futuristic imaginings this image aims to evoke a sense of unease and foreboding.
A narrative starting point with the potential to open up many questions and possible meanings. Within the frame the suited man and an old fence are contrasted against the wildwood. Presence and unseen absence of a foreboding event fuel the fears of the unknown.

£450

£350 (Unframed)

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Arboreal.

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Tobermory Harbour

By rob leckey RBSA

Acrylic/collage/mixed media

h: 75 w: 90 d: 8 (cms).

Colourful waterfront buildings, calm water and three local boats all create the drama for this scene.

The scene was painted using rollers, pieces of shaped wood and plastic card. Collage of card and paper was used to add the shape to the buildings. boats and harbour wall.

£695

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Tobermory Harbour

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Pandemic

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Landscape II

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Cape Wrath Lighthouse

By rob leckey RBSA

Acrylic/collage/mixed media

h: 60 w: 70 d: 5 (cms).

I visited this remote lighthouse at the very north western tip of Scotalnd on a bright sunny summer day but chose to depict the image of a more somber, bleak day.

Acrylic paint and ink was applied using rollers, shaped pieces of wood and plastic card. Card and paper collage was used to give shape to the lighthouse and wall.

£495

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Cape Wrath Lighthouse

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