Author Archives: rosestrang

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About rosestrang

Artist, Painter

North; transmigration

'North'. Mixed media on 40x40" redwood panel

‘North’. Mixed media on 40×40″ redwood panel

Happy days. I love it when work and ideas merge together into new forms.

The above painting is North, second in the series of three paintings for the upcoming Eigg Island exhibition. It was inspired by  a day in September on the last visit to Eigg, on the geology trail with geologist Prof’ John Hudson, who showed us fragments of bone from a Pliosaurus (estimated to have lived about 147 million years ago).

We sat underneath the fossil-filled cliffs on the north end of the island and ate lunch whileP1140952 Atzi Muramatsu began (unbeknownst to me!) to write a music piece which became ‘Gaea Metempsychosis’; a piece for string quartet, which will be performed at the exhibition launch.

It occurred to me after a day of painting the final touches of North that it would make perfect sense to add Atzi (the musician I’m collaborating with alongside poet JL Willams for the exhibition) on the cliff. Once painted I gave him a quick call to make sure he didn’t feel a bit ‘Dorian Gray’ or superstitious about it, but he thought it was a great idea as long as it worked for the painting!

P1200137‘Metempsychosis’ is a Greek word meaning transmigration of the soul – or its reincarnation after death, ‘Gaea’ meaning of course – the earth. So the inspiration of fossils, and of being on the island in a particular moment in time, yet feeling the sense of our own infinity – and that, like fossils, we become part of the landscape once more, was the inspiration behind Atzi’s music.

North’s place in the trilogy of paintings, is to represent the idea of the reality of being on a Hebridean island, after imagining what that experience will be like, because to me there’s always a time when you feel not a part of the landscape, you’re not sure of your place in this wildness of sea and cliffs, although of course we are a part of it.

I have a piece of marble that I collected from the Isle of Iona (the beautiful small island off the coast of Mull on the west coast of Scotland). It represents the idea of ‘Gaea Metempsychosis’ exactly to me. Iona was the first place where, in my early twenties I felt a powerful connection to nature – I felt my place in the cycle of everything.

The piece of marble in the photo to the right is formed  by the minerals of  tiny sea creatures P1200138from millions of years ago, their remains crushed by the weight of  rocks and ocean over time into dense, heavy white marble. You can see seams of serpentine – a silicate formed by algae and water that ran into cracks and faults of the marble.

It’s so beautiful, and it’s from a very rare seam of marble on the south side of the island that’s pretty difficult to find for newcomers. Islanders mined it about 100 years ago to form the alter in Iona Abbey, but to me it’s is best experienced on those south cliffs of Iona, looking out over a wild blue sea.

It’s quite difficult to express how rewarding collaboration is; when ideas connect – also the way that nature inspires and makes meaning of our lives. I felt very similarly about the recent Lindisfarne collaboration with poet JL Williams – view video here – When you write to the light..

Ideas gathering pace..

P1190480I enjoyed a most inspiring meet-up today with JL Williams and Atzi Muramatsu at the Scottish Storyrtelling Centre.

Jen and Atzi are planning a performance and music collaboration, to be performed against the backdrop of paintings. Also part of Atzi’s string quartet, inspired by the fossil-filled cliffs of Eigg, will be performed, which will relate to the painting I’m working on at the moment called ‘North’.

This interplay between music, poetry and painting is what I find rewarding about collaborating – it offers an atmospheric, layered experience, drawing out imaginative or emotional associations between each of the works. And, as always, it’s a pleasure to work with Jen and Atzi.

The first painting P1190481should be finished by Wednesday next week, which I’ll post here. On the whole, all aspects are going really well – I’m now beginning to really look forward to the 26th March!

Don’t forget you can book tickets here – https://www.facebook.com/events/368794979959904/?ref_dashboard_filter=upcomingOr you can pay at the door on the evening.

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2014

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Eigg during September trip -a geology trip including Camille Dressler, Norman Bissell, Prof John Hudson , Atzi Muramatsu and myself

This has easily been one of the most memorable years of my life – in particular the inspiration of visits to Eigg and the Scottish Referendum.

The referendum was a political awakening for many thousands of people here in Scotland. P1150335For me it went hand-in-hand with my experience of Eigg – an island which brought about its own independence as a community, then went on to create an award-winning renewable energy  system. (I’ll be posting early in 2015 about the up-coming Eigg exhibition to be held at Edinburgh’s Scottish Storytelling Centre)

I was inspired to learn more about Scotland’s landscape, environment and political history, I spoke to many people, researched and read books such as Lesley Riddoch’s ‘Blossom’ and Andy Wightman’s The Poor Had No Lawyers’, both of which opened my eyes to the changes that are needed for Scotland’s landscape and communities to thrive.

My experiences this year have been a reminder of how art at its best P1130832opens our world; it’s not about prestige, money, recognition or any of those things, it’s a way to connect with other people, where we live and make meaning of our lives.

donald 1I feel very grateful for the people I’ve met on my creative adventures this year, on Eigg and in Edinburgh, and most of all the great friends who’ve shared it with me – especially Donald Ferguson, Jennifer L Williams, Atzi Muramatsu and Alicia Devine.

 

(You can view my paintings and blog posts from the project on this link Here )

0A week or so ago I went along to an exhibition held by Richard Demarco at Edinburgh’s Summer Hall Arts Centre. Richard Demarco (now in his early 80s) is the Director of the Demarco European Art Foundation, which exists to promote artistic dialogue between European countries, it has fostered numerous creative connections with war-torn countries over the decades. (I worked with the Foundation from 1999 to 2000 and have kept in touch over the years).

One of the central themes of Demarco’s life has been ‘The Road to Meikle Seggie’, a concept inspired by creative journey he began in the rural landscape of Fife in the early 70s with artists, poets and creative thinkers. They spotted a sign saying ‘Meikle Seggie’ but there seemed to be no place corresponding to the name!

Meikle Seggie then became a metaphor for the creative journey; it has no end, no particular goal, it’s about a journey made with imagination, an organic journey if you like, on which if we keep our eyes and hearts open, we make meaningful creative connections with our world and with other people.

I can’t put it better than Richard Demarco in his new book ‘The Road to Meikle Seggie’:

The supreme reason and impulse of any journeying is inevitably for us to see, perhaps for the first time, the extraordinary aspects of life which we had begun to call ordinary and take for granted. The land we must traverse is full of the markers and guide posts left behind by those who recognised this truth and traveled before us.

Which was why it was very moving for me to share my news of visiting Eigg with Richard at that exhibition a few weeks ago, and to hear that it had been part of his journey too.

In January 2015 I’ll begin to create a new series of paintings of Eigg which will express my experiences of the past year and what it has meant to me. The exhibition will launch at the Scottish Storytelling Centre on the 26th March and will include (among other work) poetry by Jennifer L Williams and music by composer Atzi Muramatsu.

I look forward to adding my story to all those stories that have been and are still to come. Wishing you love, inspiration, peace and success on all your journeys in 2015!

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‘Dusk, Lindisfarne’ – paintings and poetry

Dusk, Lindisfarne is the third in a three-part series of videos showing a collaboration between myself and poet, Jennifer L Williams.

This is a beautifully moody poetry reading and interpretation of the painting Dusk, Lindisfarne. (I think the most abstract of the three poems, so my interpretation is subjective). As always, Jennifer captures the feel of the painting – the sense of leaving an island – ”When the end of land approaches’, leaving an imagined haven – ‘the brush rushes to blend the dream’s receding story of belief’, and an ominous mood evoked by an imagined ‘cormorant’s wasted flesh’, whose feathers become receding clouds.

She draws attention to the sea (in this painting the least obvious part of the composition) – ‘in the teeth of winds’ which to me evokes something of holding onto this island haven, before returning again to measured everyday life – ‘we trade in hours’.

I’d hoped to post all 12 of the Lindisfarne paintings today, but I’m currently awaiting scans of all the paintings, which I’ll hopefully post here tomorrow..

Sea and Sky Preview Evening

10734127_877853568900852_4967409169763845328_nThe Sea and Sky preview evening was lovely. Many thanks to Gallery Manager Karen Bates, Atzi Muramatsu and Jennifer L Williams.

(I’ll post all 12 paintings here on Tuesday this week)

The paintings will be on show at the Marchmont for another fortnight, so drop in to have a look, you can be sure of a friendly welcome from Karen and Anupa!

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Sea and Sky, Lindisfarne

Stormy Sky LindisfarneThe exhibition Sea and Sky opens this Saturday at 10am. If you’re in or near Edinburgh this weekend, I hope you’ll find time to drop in and say hello.

(I’d love to post updates on all the paintings in progress, but am advised by the gallery to keep them under wraps till the launch!)

In the meantime, you can find more information on the Marchmont Gallery link here – Marchmont Gallery – Sea and Sky

I’ve really enjoyed working with Gallery Manager Karen Bates, an artist herself with a great collaborative and creative approach. The gallery is part-funding a small booklet which features paintings and poetry (written by Jennifer L Williams) and this will be available after the launch.

Composer/Cellist Atzi Muramatsu is also playing live at the gallery, but we have had to limit numbers as space is limited. But I will definitely be recording the performance and posting it here afterwards. I’ll also create another of my short videos combining music, poetry and paintings.

Atzi and Jennifer are on a bit of a high just now as both have had great news; Jennifer’s book Locust and Marlin was nominated for a Saltire Award, and a film short – Monkey Love Experiments for which Atzi composed the music score has just won a Scottish Bafta. Both well deserved!

I’ll also post images of all paintings after the launch, I’m so used to sharing the creative process it feels unusual not to post them here, but it all adds to the mystery, I hope!

The Healing Island

P1160193 (2)“If you’re spiritually open, then the island, its landscape, its beauty and the power of nature certainly seems to do its own work . I do actually think that the old name of the island – Medcaut – if it really does mean ‘healing island’, is very apt”

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Today I’d like to introduce you to Jamie Cossar, who lives and works on Lindisfarne as a member of the Aidan and Hilda community…

R: Hi Jamie, I’ve known you for many years as a friend of the family, so I’m very interested in your decision to move to Lindisfarne to join the community because, apart from adapting to island life, it also seemed to be a commitment to an entirely new way of life

So firstly, I know that Lindisfarne has attracted pilgrims for many centuries (including yourself most recently!) Can you tell me a little about your background, and what first attracted you to Lindisfarne?

J: I have always been drawn to nature and wild places, starry skies and the ceaseless movement of the sea. It has constantly been a part of my spiritual journey. When I was a teenager I was drawn to meditation and contemplation through Buddhist practice. However, I became a Christian in my early twenties and discovered the tradition of the Desert Fathers and Mothers.

They were Christians in the fifth and sixth Centuries who withdrew to the Egyptian, Palestinian and Sinai deserts to live lives dedicated to prayer and solitude. However, they became so famous and were regarded as such wise mentors, that lots of other people followed them and eventually there were thousands of people spread throughout the deserts; some lived in communities and some lived as solitaries.

P1160232This type of desert monasticism spread to Ireland and then through communities like Columba’s in Iona, to other parts of Northern Britain, including Lindisfarne.

My own spiritual journey has been one of a desire for solitude, empty places and finding God in nature, as well as deep within myself.

As you say, Lindisfarne has been a place of pilgrimage for centuries and I came to the island in 2012 to learn to do Celtic Knotwork design.

I had been a couple of times before as a day visitor, but spending a few days on the island following the rhythm of the tide, when the island empties of tourists as the causeway closes, it felt completely different.

The island is famous for its wildlife, particularly migrating birds and countless numbers of seals. The skies are incredible, there’s such a sense of vast empty spaces above and in places like the North Shore of the island where the sands stretch for miles when the tide is out.

While I was on the island for the Knotwork course I met people from the Community of Aidan and Hilda and the rest, as they say, is history!

Why is it you were particularly drawn to the Community of Aidan and Hilda, and what did it offer to you, that previous religious groups perhaps couldn’t?

The Community is part of what is described as the ‘New Monasticism’ movement. This basically means that those involved try to live a rhythm of life based on daily routines of prayer, work and re-creation. It’s similar to the traditional monastic model except that it has been adapted for contemporary society and without the need for people to live behind walls and to be celibate.

The Community of Aidan and Hilda is a dispersed community. In other words people don’t actually live together but we live a Way of Life that is held in common by all of us. There are members throughout the UK, Scandinavia, Australia, New Zealand and the USA.

P1150897The Community is influenced by the Celtic Christian tradition and attempts to interpret what is thought to be the way that the early Celtic Church lived. There aren’t a huge amount of records relating to the early Celtic Church although we do have an idea of how they lived.

In the Celtic tradition, there was an emphasis on the Trinity (The Three-in-One Godhead), the importance of nature, the rhythm of the seasons, a sense of God’s presence in all that we are and do and so on.

It was very similar to the Eastern (Orthodox) Church when it came to the mystical experience of Christianity.

The Celtic Church in Ireland had never been part of the established Roman Church as the country was never conquered. It wasn’t subject to imperial influences in the same way that the Roman Church was when Constantine adopted Christianity as the official religion of the Roman Empire in the fourth Century.

The Celtic Church was non-hierarchical and women and men played an equal part in its life, as well as in many other aspects of administrative and daily living.

As someone who has a sense of God in everything, believes in equality and who has an anti-establishment streak when it comes to top-down religion (or politics for that matter!) then this type of spirituality appeals.

Can you tell us a little about the process of joining the community, and what you do in the Aidan and Hilda Community?

The process of joining the community is similar to the traditional monastic way of becoming a member of an order.

People have the option of either being a ‘friend of the community’ or initially becoming an Explorer. A friend is someone who may well have an interest in the life, work and ethos of the Community but who doesn’t feel able to commit themselves further.

They are kept informed of what’s happening in the Community through the quarterly magazine, The Aidan Way and other updates when appropriate.

An Explorer, as the name might suggest, is someone who explores a Way of Life based on the three Life Giving Principles of Simplicity, Purity and Obedience and the Ten Elements of the Way. Without going into too much detail, these Ten Elements include a commitment to life-long learning, spiritual journey, care for creation, a simple lifestyle, openness to God’s spirit, healing fragmented communities and unity, to name some of them.

In conjunction with what we call an Anam Cara, or Soul Friend (someone who accompanies us on our spiritual journey), the Explorer formulates a Way of Life and tries to live by it in their daily life. To me, the beauty of our Way is its’ flexibility as we have people who come from all walks of life; some who are married or parents, grandparents, single people, some who work etc.

The Way of Life is formulated to fit in to people’s lives and it’s called a Way rather than a Rule which can feel much more prescriptive.

After living this Way for a minimum of a year (I was an Explorer for two-and-a-half years) you then decide with your soul friend if it’s appropriate to the take the next step, which is to become a Voyager, or full member of the Community. Of course, you may decide that the Community isn’t for you and can leave it at that.

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This process is similar to the traditional monastic way of being a novice and then taking first, or ‘simple’ vows.

The service of becoming a Voyager is called ‘The First Voyage of the Coracle’ and symbolically mirrors the stories of the early Celtic monks, such as Columba, literally getting into their coracles (or currach, a larger boat) and seeing where the wind, the sea – and God – takes them.

You take vows to live your Way of Life to at least one of the three Community Guardians (leaders).

There are then options after becoming a Voyager. Some people are happy to remain permanently as a Voyager, while others, after a minimum of seven years, become Long Voyagers, who commit to becoming life members of the Community – this is similar to Solemn Profession (Life Vows) in a traditional monastic community.

Currently there is also an option of becoming a Monastic Explorer and Monastic Voyager after you have been a Voyager for three years. This involves a commitment to living a more monastic way of life with very few possessions and as a celibate person. To date nobody has explored this option but it’s one that I am looking at. It would be new for the Community and it’s a case of ‘watch this space’!

Regarding what I ‘do’ in the Community, please see 10 below.

Can you tell me anything about early religious or spiritual settlers? Does history tell us anything about pre-Christian settlements on Lindisfarne?

There’s very little known about the island before Aidan arrived in 635. Remains of rubbish have been found which date back to between 8000BC and 3000BC and it’s thought that there was also a Roman village on Lindisfarne.

The island was formerly known as Medcaut, an old Brittonic or Welsh name which, according to some interpretations, means ‘healing island’, owing perhaps to the island’s reputation for healing herbs.

In terms of early religious settlers, no doubt the Stone Age and Roman settlers would have had their own belief systems, whatever they might have been.

What do you think differentiated Celtic Christianity from traditional Christianity, what are the differences in focus, or prayer?

See what I said above in relation to the differences between the early Celtic Church and the

Early Celtic Christian Cross

Early Celtic Christian Cross

Roman Church. One thing that appeals is that the Celtic Church was around before the great schism between Rome and Constantinople in 1054 and the subsequent Protestant Reformation in Europe.

Part of the calling for members of the Community of Aidan and Hilda is to heal broken communities and to work towards and pray for Christian unity.

As I also mentioned above, I think there was a greater emphasis on the mystical nature of God in some aspects of Celtic Christianity, although that is also part of the other traditions, though sometimes ignored.

However, it’s in the emphasis of understanding that God is in everything. We can see that as recently as in the late 19th Century when Alexander Carmichael collected songs, prayers, blessings and stories of Gaelic folklore in his publication of the Carmina Gadelica.

These were collected from the Gaelic-speaking areas of Scotland and show that many of the prayers and blessings were said before and after simple tasks at home or at work, indeed for almost anything you did in a day. It was/is that recognition of God is in everything we are and do.

How, and why did Aidan come to Lindisfarne?

Aidan came to the island in 635AD at the invitation of King Oswald, who was King of Northumbria.

Oswald’s father, Aethelfirth, had formed the kingdom, which ranged from what is now the Lothians in Scotland to south of York in England. However, he was killed in battle in 616 and his family fled to Iona, where the Irish Columban monks were.

Remains of Lindisfarne Monastery

Remains of Lindisfarne Monastery

It was on Iona that Oswald accepted Christianity. He was the second son of Aethelfirth and was determined to regain his father’s kingdom. When he succeeded he asked the community at Iona to send someone to preach the faith to his people.

After an unsuccessful first attempt, Aidan and 12 others came to Northumbria and was offered land by King Oswald, who was based at Bamburgh on the Northumbrian coast. Aidan chose Lindisfarne, a tidal island, partly, it is thought, for its closeness to (and protection from) Bamburgh but also because if could offer solitude at times when the island was cut off from the mainland.

It was on Lindisfarne that Aidan formed a monastery, school and eventually a bishopric, or ‘see’.

How was St Aidan described? Do we know anything about his personality?

P1150873Aidan was famous for his gentleness, humility and simplicity of life. He must have had a great deal of inner strength and faith to begin a completely new Christian settlement in a part of the country that was torn apart with wars and invasions and also that was dominated by pagan religious-thinking.

He treated everyone the same, be they king or slave. When he was given money or donations he would distribute it to the poor or would use it to buy slaves and free them – many then studied at Lindisfarne and became monks themselves.

There is a well-known story that when he was given a royal horse by King Oswin, who succeeded Oswald after he had been killed in a battle (see what I mean about how violent the time and place was?!), Aidan gave the horse with all its’ royal livery away to a beggar. Oswin was angry at first but then realised how humble and saintly Aidan was and asked his forgiveness.

Who was St Hilda and what do we know of her life and character?St Hilda (icon)

It is not known where Hilda was born, but her birth took place in 614. She was the second daughter of Hereric, great nephew of King Edwin of Northumbria, and his wife Breguswith. Her elder sister Hereswith, married the King of East Anglia. Hilda’s noble status is important in understanding her, but it did not mean she had an easy life.

When she was still an infant, her father was murdered by poisoning while in exile at the court of the British King of Elmet, (in what is now West Yorkshire). It is generally assumed that she was brought up at King Edwin’s court in Northumbria.

In 627 King Edwin took the step of accepting the Christian faith.

Hilda was among the nobles and courtiers who were baptised with him. This means that as a girl she must have been aware of the traditions of the Church in Rome and of the existence of monastic life.

From 627 to 647 there is nothing documented about Hilda. It seems likely that when King Edwin was killed in battle in 633 she went to live with her sister at the East Anglian court. According to the Venerable Bede, who documented the rise of Christianity on early Britain, she was going to join her widowed sister at a convent in France. She decided instead to answer the call of Bishop Aidan of Lindisfarne to return to Northumbria to live as a nun. This was the turning point in her life.

The exact place where Hilda began her life as a nun is not known, except that it was on the North bank of the River Wear. Here with a few companions, she learned the traditions of Celtic monasticism which Aidan brought from Iona. In 657 Hilda became the founding abbess of a new monastery at Whitby (then known as Streonshalh); she remained there until her death in 680.

Hilda suffered from fever for the last six years of her life, but she continued to work until her death on 17th November 680, at what was then the advanced age of sixty-six. The place of her burial is unknown.

Bede describes Hilda as a woman of great energy, who was a skilled administrator and teacher. She gained such a reputation for wisdom that even kings and princes sought her advice, but she also had a concern for ordinary folk like Caedmon. He was a cowherd at the monastery, who was inspired in a dream to sing verses in praise of God. Hilda recognised his gift and encouraged him to develop it. Although Hilda must have had a strong character, she inspired affection. As Bede writes, “All who knew her, called her mother, because of her outstanding devotion and grace.”

Why were these particular saints chosen by the community you work for?

Aidan was chosen as he was the founder of the monastery at Lindisfarne and for his gentleness, simplicity and leadership qualities. Hilda for the reasons about her character above. Also, they represent the male and female tradition of the Celtic Church where men and women worked and prayed together as equals.

There were many monasteries where women and men lived and worshiped together – Hilda’s monastery at Whitby was one such place. They are examples of how we are all equal in God’s sight and, to me, represent the opposite of a patriarchal church and society where women are neglected and treated as second class citizens (if they’re lucky!).

How do you find life on the island? Do you find it conducive to contemplation?

I absolutely love living on the island. I came a year ago after having a sense of being called to the island particularly in relation to prayer and contemplation. As I explained before, my spiritual journey has been woven with a desire for solitude, silence and emptiness.

P1160193Although Lindisfarne attracts three quarters of a million visitors a year, you can still find plenty of places to be alone as most tourists stick to the village and the tourist attractions.

It was agreed that I would come and be part of the Community of Aidan and Hilda’s presence on the island.

 

img_7231We run a retreat house called the Open Gate and I help out there part-time. It can be as simple as making breakfast for guests, clearing up after meals and changing rooms, to helping lead retreats on Christian Meditation and Mindfulness and offering soul friendship to people who ask for it.

However, that’s the part-time work. The specific reason I’m here is, as I said, for prayer and contemplation.

I live as a solitary, mainly in silence when I’m not with other people, although I do listen to the radio for news etc but I don’t have a TV.

I have a four-fold pattern of prayer each day, which starts off in silence, meditation and what is called ‘intercessionary prayer’.

This is when I pray for people or situations. It’s not a shopping list of prayer but more about entering into humanity at a deeper level. Some people think if you’re called into a desert (or in my case ‘island’) way of life that you’re actually running away from the world. It is, in fact, the opposite. The tradition in Christian mysticism is very much about being open to our own egos being stripped away, to leave space for God to work within us. That’s the idea of poverty – or simplicity – when we let go of the trappings of the material world and all the things that distract us from facing who we really are.

It’s a tough, lifelong process, but when you’re faced with all the emotional baggage we carry around and, ultimately, our own mortality, it makes us realise how little control we actually have over our own lives. That, in turn, gives me a sense of depending on God entirely for all that I am – that’s the real meaning of humility in the Gospel sense.

Anyway, I’m digressing a little.

As I said, I have a fourfold pattern of prayer, mornings in silence and solitude, midday prayer in our community chapel, evening prayer at St Mary’s, the Anglican church and night prayer at the community chapel again or said privately depending on how tired I am.

P1160025I have to say, I get a real spiritual kick out of praying at St Mary’s as part of it was built on the site of St Aidan’s original monastery.

That means that we’re praying in the same spot that people have prayed in since 635AD – that’s almost 1400 years of prayer!

 

It’s maybe part of the same question, but what are your thoughts on spiritual or religious seeking, and their relationship to landscape?

Yes, it is part of the same question. Although I do have times of formal prayer, I spend a lot of the time on the island, walking, engaging in nature and sitting or standing by the sea and literally getting lost in the sense of the presence of God.

In Celtic Christian spirituality, we talk about certain places being ‘thin places’. This is the belief that the space between heaven and earth is so thin that you can sense another worldly presence.

Lindisfarne is one such place, as is Iona.

I came to live on the island last winter (my friends thought I was off my head wanting to live on an island in the North Sea in the middle of winter!). The reason was to experience the wildness and emptiness of the place – it didn’t disappoint and I know that autumn and winter on the island is now my favourite time.

We had a beautiful spring and summer and the island was very busy, but there’s just a different feel to the place off-season.

It’s as if the island ‘breathes a sigh of relief’ and settles into the winter. The human visitors go and the migrating birds arrive.

I discovered that I can simply ‘be’ by the sea, watching the countless birds and seals, tune into the rhythm of the waves and have an almost tangible sense of an inner stillness and space. So much so that I feel I could put my hand into my chest, bring this ‘space’ out, look at it and put it back in. It’s what I call the ‘everythingness and the nothingness’ of God.

The skies are amazing in the winter, both during the day and at night. There’s a sense of the vastness of the sky and there are some amazing light effects. Also, as there’s virtually no light pollution, you can see the Milky Way at night and more stars than I’ve seen anywhere else.P1150863

I can understand why the Celts felt an affinity with the landscape and it’s certainly enhanced my own sense of being in God’s presence.

I was once told by someone to ‘let the island do the work for you.’ and it’s so true. I’ve mentioned this to many guests at the Open Gate. Quite often they would come to have a retreat on their own, with their own ideas on what they were going to read or do. I’d say that almost all of them have told me that they never did what they had planned to do but just ended up experiencing the island and letting it soak into them.

If you’re spiritually open, then the island, its landscape, its beauty and the power of nature certainly seems to do its own work . I do actually think that the old name of the island – Medcaut – if it really does mean ‘healing island’, is very apt.

Jamie, many thanks for this fascinating account of the early Celtic Christians and their way of life, also for describing so poetically your own response to the island, and your spiritual calling to Lindisfarne. It’s been a pleasure to interview you, and I hope to see you at the exhibition in Edinburgh on the 22nd November (Lindisfarne tides willing!)

You can find out more about the Open Gate and the Aidan and Hilda Community here – Open Gate

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Lindisfarne and Early Celtic Christianity

Statue of St Aidan at Lindisfarne Priory

Statue of St Aidan at Lindisfarne Priory

If you’re interested in early Celtic Christianity, and in discovering why the pilgrims and pioneers built monasteries on remote and isolated islands in the 7th century AD, you’ll find tomorrow’s blog post fascinating.

As mentioned in a previous blog, while on Lindisfarne I met with Jamie Cossar, a friend of the family for many years, who joined the Aidan and Hilda Community on Lindisfarne a year ago.

In the interview, Jamie answers many questions about the lives and personalities of Aidan and Hilda, what they did and why they came to the island. Jamie also talks very movingly about his own experience of the island, and how living with the island’s seasons and tides enhances his faith.

I’ll post this tomorrow, alongside the third of my Lindisfarne series on canvas (the rest of the paintings will be small works on wood)

Castle Point, Lindisfarne

Yesterday I posted the video of Jennifer L William’s wonderful poetry response to ‘Stormy Sky’ Lindisfarne,which you can view on this link: https://rosestrangartworks.wordpress.com/2014/11/09/when-you-write-to-the-light/

And as promised here is the second poem in response to ‘Castle Point, Lindisfarne’..

I’m also very delighted that Atzi Muramatsu has agreed to perform live at the Lindisfarne exhibition next weekend (Saturday 22nd) at the Marchmont Gallery Edinburgh. I absolutely love Jennifer’s and Atzi’s creative work, and it’s always a great pleasure to work with them.

The Marchmont Gallery have created a Facebook Event page for the exhibition, which you can view here Lindisfarne exhibition facebook event

In a few days I’ll update information about the Eigg Island project.

‘When you write to the light..’

I’m very pleased to introduce you to  Jennifer L William’s response in poetry to one of my recent Lindisfarne paintings.

In this video she recites a poem in response to ‘Stormy Sky, Lindisfarne’..

It always feels magical to me when Jennifer plucks poetic inspiration from a painting, and draws viewers in to the meaning behind the image.

This is Jennifer’s personal response, but as with previous poems it gets to the heart of what I wanted to paint and communicate. In an earlier blog I spoke about the process of visiting an island like Eigg or Lindisfarne, as a painter. There’s a wish to be more present, or to see beyond the obvious, I described it in an earlier post as peeling back layers.

Jennifer’s poem takes this further, and expresses in words what I try to explore in paint. This line from her poem; When you write to the light, you write beyond the grave expresses to me the idea that we can only perceive with our limited human senses, and in the process of responding as a painter, or poet, you hope to see beyond your own thoughts, beyond a mirror.

The final line; you are the light could be read in a spiritual sense, or in the sense that we are the light, we make landscape what it is, or project our thoughts on to it. It makes me think of Shelley’s poem Mont Blanc;

..and what were thou, and earth, and stars and sea, if to the human mind’s imaginings, silence and solitude were vacancy?

Contemplating Jennifer’s poem has been a pleasure (especially on these dark winter evenings!). Tomorrow I’ll post a second poem and video, in response to the recent painting ‘Castle Point, Lindisfarne’.

Jennifer L William’s poetry can be viewed on this website: http://jlwilliamspoetry.co.uk/