My work looks at my personal connection to the land, the influence of nature and the sensory experience I take from sitting in an environment – specifically Scotland. Identity and memory both play a part in my practice as I reflect and revisit sites of significance. I also play with the idea of home and the understanding that this can purely be a feeling, more than physical place. The ideals of Biophilia helped to inform my decision making and translating  my personal relationship with these wild spaces into an abstract visual language. 

 

Ben Fogel’s series, ‘Scotland’s Sacred Islands’, resonated significantly with my own practice and experience of Iona - a tiny crofting island off the coast of Mull.

Having personally visited Iona many times I felt a deep connection to Ben’s emotional and spiritual experience on the island. Hearing him talk reminded me of a quote I read on the abbey walls. 

 

"Am fear a thèid a dh'l, thèid e trì uairean ann."

 

Translated, it means the one who goes there, goes there three times. This Gaelic phrase perfectly highlights the lure and shared enchantment which Iona possesses. 

 

The incorporation of Gaelic within my work came from a longing for authenticity, to connect to an ancestral part of my culture and the poetic lilt the words hold. I feel that the lyric value and musicality of Gaelic cannot be translated to English.

 

Sightwriting is a technique I discovered when researching female Scottish artists earlier in the academic year. Bet Low depicted the raw, wild terrain of Scotland, specifically  the island of Orkney. Low would record visual and sensory aspects of her experience by creating expansive lists and detailed writings, as to accurately emulate them back in the studio. This became a vital process to my own practice allowing a documentation of landscape which transcends visual replication. 

Sightwriting, in combination with working on site, was a significant aspect of my practice, driven by the importance of authenticity and immediacy.

 

Having explored an interest in bookmaking during the previous unit, it seemed the perfect vessel to combine my abstract marks and writings. Working along side technicians to produce a professional standard of bookbinding was important to me, as the standard of the craftsmanship needed to reflect the quality of the drawings within.

The first book, ‘Dachaigh’, was designed to have a spacial presence, representative of the shapes and physical features of the landscapes it is contextually intertwined with.

The second, ‘a’choille’ is a more delicate book, one which requires interaction, due to its unfolding arms. This houses intricate and detailed drawings. Within the two works I looked to create a contrasting narrative, whilst weaving together the different environments I had explored and recorded.

 

Upon reflection, staying on track and exhausting the potential of an idea is an area I have improved on greatly as the year has progressed. As the degree show deadline approached , I was aware I would need to manage time effectively as I undertook the creation of two books.

 

As my work has evolved and grown my ideas have shifted from literal to emotional - something less tangible. Abstract landscape painter Amy Deal predominantly uses emotion to lead her work, “I am painting my feelings”, discussing themes of family, home, identity, and connection. The significance and literality of Deal’s practice is akin to the feeling I am aiming to deliver through my drawings; of letting go and allowing the work to speak for itself.

 

While taking part in the exhibition ‘Transcendence of Place: Perspectives told through Art’ I was able to garner opinions of my work outside of those within my crit group and tutorials. Anonymous notes afforded people the opportunity to leave comments on specifics as well as and general exhibition goings on. Unfortunately, during the exhibition my artwork was damaged and I was forced to present the work flat on the floor. Audience had to peer and walk around the piece offering a different interactive experience. The solution to what initially appeared to be a problem, resulted in positive feedback.

 

One-to-one tutorials were a space where I was able to gain invaluable insight and build on feedback from my tutors. This helped me to formulate ideas and inspire confidence, enhancing and shaping my artistic practice going forward.

 

Joining the Fine Art Catalogue Fundraising Committee pushed me to be more organised and manage my time more efficiently.

The planning and organisation of events was rewarding, not only in the funds we raised for the catalogue, but also in the transferrable skills gained for artistic and wider practice. Creating the Fine Art Society social media page enabled us to work collaboratively to promote the events, reaching a wider audience to boost funds. 

 

Reflecting on the past year I am aware of how much my practice has evolved, growing from an origin of self-consciousness to being confident in the impact of the art I produce. I have truly achieved ataraxia both in my art and self.