Scottish Society for Art History Seminar, Dundee Contemporary Arts, 7 September 2007

A page from An Leabhar Mor.

CHAIRED BY Murdo MacDonald, Professor of History of Scottish Art, University of Dundee, this thought-provoking series of 10 presentations from artists and academics satisfyingly provoked many more questions than were answered.

The re-examination of Visual Art as an integral part of the history of the Highlands is long overdue, and each speaker added weight and dimension to the importance of Visual Arts in our understanding of Highland life past, present and future.

Derived from the title of Sorley Maclean’s poem ‘Hallaig’, the five year Window to the West project (2005-2010) has three primary aims: “(1) rethinking the history of Visual Art in the Highlands and Islands, (2) the making of contemporary art in a Highland or Highland related context and (3) the exploration of the visual in Gaelic language”.

The spirit of this enquiry was very much in evidence throughout the presentations, each in their own way part of the process of “unboarding Sorley’s window”.

What is so fascinating about this re-examination of Visual Art and the Gaidhealtachd is that it directly parallels the experience and creative process of many of our best contemporary artists working in the Highlands and Islands. It is about engagement with a world view that values both people and place, depending on intimate relationships with both in order to live, work and survive.

Meg Bateman described this beautifully in the final verse of her poem ‘A ‘Chrannghail – To Will Maclean and Arthur Watson’ as “life’s clear red light her precious cargo”, declaring that the “ultimate claim for Gaelic” is that “like any culture it shines a light on humanity”.

The rising prow of Maclean and Watsons’ sculpture installed in 2006 in the grounds of Sabhal Mòr Ostaig overlooking the Sound of Sleat reads as “an elegant symbol of hope”. Window to the West is ultimately about the value of art in terms of world culture and the reclamation of images lost to our collective consciousness.

Setting the scene for this exploration in his introduction, Murdo MacDonald spoke about the significance of images from cup and ring marks of prehistory to contemporary works such as those of Joseph Beuys on Rannoch Moor, Will Maclean’s Land Struggle work and Calum Colvin’s Ossian images.

Often “viewed as archaeology rather than art history”, works such as those created as part of the West Highland School of Sculpture and The Book of Kells are of international importance. As a nation we need to revisit these images and reassess their importance not just to ourselves but as part of world art history.

Joanna Soden from the Royal Scottish Academy discussed the depiction of the Highlands by Scottish painters of the 1920’s and 30’s including William Gillies, John Maxwell, David Forrester Wilson, Douglas Percy Bliss and Keith Henderson. The way in which artists have “fallen off the radar” in terms of public awareness is something that Window to the West as a research project may begin to redress.

Timothy Neat’s discussion began with the important question of “who the project is addressing?” and public engagement with issues raised by the project within an academic context. He stressed the importance of seeing “the Gaidhealtachd in the context of Scotland” through the work of great thinkers such as Hamish Henderson.

Neat’s work as a director of such films as “Hallaig:The Poetry and Landscape of Sorley Maclean”, “Play Me Something” and his writings on symbolism in the work of Charles Rennie Mackintosh and Margaret MacDonald are creative and documentary works that raise awareness of our literary and artistic heritage.

A film like “Play Me Something” (1989) set jointly on the Hebridean Island of Barra and in Venice places the island setting level with Europe as the story unfolds. This is significant as it reflects the creation of work that is “world aware”, storytelling which is ultimately of its place and universal.

The way in which fine and applied arts are integrated in the Highlands and Islands is unique and reflected in modern practice. Neat referred to Mackintosh and the way in which modern art is created “by being yourself”. Mackintosh’s genius and symbiotic relationship between his art and life was acknowledged by Salvador Dali who, when dropping a book on Mackintosh, referred to it as the “The Sound of God” as it hit the floor. (Higher praise perhaps than has ever been heard in this country.)

The moral character of Highland culture was referred to by Neat but was also revealed in the creative process and artistic integrity of Will Maclean and Arthur Watsons’ collaborative work and in Malcolm MacLean’s discussion of contemporary works from artists such as Olwyn Shone and Steve Dilworth.

Malcolm MacLean (Gaelic Arts Agency) in his talk “Building From Rain and Stones” discussed groundbreaking touring exhibitions such as ‘Asan Fhearann – From the Land’ (1986) and ‘An Leabhar Mòr – The Great Book of Gaelic’ (2003).

The establishment of art centres in the islands from the 1980’s onwards has been a significant step forward in creating greater awareness of the visual in Gaelic culture (although I would argue that this awareness and basic level of infrastructure has yet to become established in the areas of highest population in the mainland Highland region.)

He spoke about the physical process that characterises making art within the Highlands and Islands, citing examples from the Great Book of Gaelic project; Olwyn Shone’s use of the elements and rain in the creation of new work and Steve Dilworth’s event in relation to the photo etching produced for the great book, which involved setting the stone alight with animal fat.

The concept of a human and cultural landscape and a challenge to sterile images of the region are what characterise the “Gaelic” world view and give meaning to the term “Gaelic Arts”. This articulates what artists already know and utilise in their Highlands and Islands-based practices, and represents an affinity of content and creative intent.

MacLean also spoke about the way in which the human element has been painted out of Highland Art and the concept of the Gaihealtachd as representative of both place and people. To the urban visitor who sees only space the landscape may appear empty or be the sole focus of artistic expression. MacLean discussed the way in which a culture not rich in material wealth at odds with the European mould is rendered invisible historically.

Hugh Cheape’s (University of the Highlands and Islands) paper on “Rhyme and Reason in Perceptions of Tartan” drew on research which places the Highlands and Islands as a centre of international trade through the examination of dyes utilised in the production of early tartan. Imported indigo and cochineal defy the image of muted colour and locally produced natural colourings and this vibrant palette is also supported by poetry and text.

Cheape pointed out that colour classification in Gaelic is not the same as in English. Perception of colour and the “costume of the clans” had a symbolic function which is far removed from the commercial success of the Scottish national, militaristic and predominantly masculine branding of the 19th and 20th centuries. Although tartan is now often deemed taboo, he suggested a re-examination of its meaning in modern Scotland.

Like so many iconic images tartan has been appropriated and misappropriated over time as a symbol of Highland Culture. It is a shame that the opening exhibition of Highland 2007, ‘Fonn’s Duthchas – Land and Legacy’ (curated from Edinburgh) failed to raise the same kinds of questions.

An important question was also raised by a member of the audience about the iconic use of Highland dress in the Sutherland Clearances statue ‘The Emigrants’ by Gerald Laing recently erected in Helmsdale. The question was asked about the truth of the image, the kind of message such an artwork sends to the rest of the world and the intent to erect identical statues in Canada, Australia and New Zealand.

Duncan MacMillan’s discussion of ‘Runciman’s Ossian’ placed the artist’s work in the context of morality and aesthetics also discussed in Timothy Neat’s presentation. Runciman’s exploration of classical subjects and Celtic legend in a style “free of formal academic control”, manifests an idea of the primitive, of pre-classical civilization and of nature which depends on the freedom of an open heart and a “philosophy of moral sense.”

MacMillan discussed Runciman’s paintings and drawings including his great work the ‘Hall of Ossian’ in the context of “recovery of past imaginative simplicity”. His love and enthusiasm for Runciman’s work was clearly evident and one was left wanting to know more about the artist and his work.

John Purser’s discussion of The Celtic Ballet and music of Erik Chisholm raised fundamental questions about public consciousness in relation to Scottish Art. Purser discussed the social and artistic context of Chisholm’s creative work, the milieu of Margaret Morris, William Crosbie, Andrew Taylor Elder and J D Fergusson in which the creation of works such as “The Forsaken Mermaid (A Ballet in five scenes)”, The Earth Shapers”, Piobriachd and the 2nd Symphony took shape.

He argued that Chisholm was the first modern composer to absorb the Celtic tradition into his own work. Purser played excerpts from Chisholm’s work and the audience had a rare glimpse of a reconstructed fragment of video choreography from “The Foresaken Mermaid”.

William Crosbie’s set, costume and programme designs and those of Fergusson were fascinating in relation to Chisholm’s musical vision. Though the Celtic Ballets were performed in Glasgow in the late 1930’s Chisholm’s music has not been heard in this country since. He has, like so many of the artists of the past discussed as part of the seminar, fallen off our collective radar.

A recent MFA graduate from Edinburgh University, Sarah Jane MacIntyre has been working with a Gaelic speaking community at Staffin in the North of Skye as part of an artist’s residency through An Tuireann and with assistance from the Window to the West project.

The artist spoke of her preoccupation with light and navigation, drawing on stories from the oral tradition, superstition and the sea. The use of salvaged materials, reusing objects with a personal story and the traditional quality of island thrift are part of her creative process. The idea of light and knowledge is particularly strong in her work and she explores dialogue between lighthouses through rhythm and light in her drawings and installation work.

Old maps and admiralty charts and Stevenson’s lighthouse drawings in cross section are also incorporated into her work. The way in which modern technology and navigation methods change perception is part of her exploration charting new depths and redefining cultural territory.

Arthur Watson and Will Macleans’ discussion of the process of collaboration and installation of their sculpture ‘Crannghal’ was a compelling double act. Overlooking the Sound of Sleat in the grounds of Sabhal Mòr Ostaig, the bronze sculpture set into a base of polished granite is constantly shifting, reflective of skye, water and ever changing atmosphere.

Watson and Macleans’ whole approach – that “an artist’s job is to make things” – is refreshing. Both learnt the casting process and embarked upon a three year process which began with written description of the tying and building process with willow and then progressed through the reconstruction of age old skills by the two artists.

This was a project “built on trust” exploring physical and creative processes in equal measure. Watson described the casting, bronze set alight and learning when the bronze is ready – the white circle of “the eye of god” being visible, seen as “a (physically) generative process” and “a regenerative process” for Gaelic arts.

An exhibition of works taken from the University of Dundee collection and curated by Matthew Jarron titled ‘The Highlands in Art – Visual Responses to Highland Scotland’ accompanied the day’s events and included works by Will Maclean, Eoghann MacColl, Barbara Rae, Gill Tyson, Catriona Mary Moore, Thomas Miles Richarson the Elder, Hugh Cameron, Charlotte Naysmith and Alexander Bronlie Docharty.

That these images and thoughts are assembled together as part of a focus event and as part of ongoing research and reassessment is an important step forward. That they be made visible and become part of our public consciousness is the next great challenge.

© Georgina Coburn, 2007

Links

• Duncan of Jordanstone
• Sabhal Mor Ostaig

Associated Page

• Murdo MacDonald interview