‘The Road to Meikle Seggie’ Richard Demarco

Last Saturday I attended a talk by Richard Demarco (Info -Richard Demarco CBE) at Summerhall in Edinburgh. This was a fairly informal pre-Christmas gathering, to explore themes of Richard Demarco’s work as a water-colourist over the decades.

Richard invited us to respond on paper to the ideas discussed, but I had to leave before the end of the talk, so thought I’d post a response here ..

Richard Demarco last year, describing Edinburgh Arts journeys during performance by Aletia Upstairs. Summerhall, summer 2017 (photo, Rose Strang)

Richard Demarco (now in his late 80’s) has dedicated his life to promoting art as a means of dialogue and healing (with focus on Europe post WW2 – more info Here) so you might expect expect his paintings to encompass themes of war – or figurative human struggle perhaps.

At first encounter though, his watercolours appear to be fairly traditional land and city-scapes; views (often iconic) mostly of landscapes across Scotland, from Edinburgh in the east, north across Fife then to the far west coast of Scotland.

There’s a focus on changing light – not just how light plays on the subject (the concern of every artist who views the world around them) but particular focus on position of the sun, stars or moonlight; the time of day and the passing of time – the message is often reiterated with telegraph poles, signposts and pathways or roads, suggesting a journey shared by others.

These paintings represent what Demarco  describes as The Road to Meikle Seggie – they represent his own sense of place in time on that road, as well as the marks of those who came before. So these are not simply watercolour views – they describe a life-long journey, with meaningful connections.

(my earlier post on The road to Meikle Seggie Here)

This could lead us down many intellectual avenues exploring art and time, but Richard Demarco’s work is about the immediacy of those themes – as they are felt and experienced in life, and this is reflected in his choice of watercolour as medium – it can’t be re-worked (in the same way as oil or acrylics for example) and this is similar to the immediacy of drawing – the viewer can see each mark as it’s been made – nothing is hidden.

The first of many questions Richard explored on Saturday was –  ‘Why do artists make their marks, and what moves them to do so? Anyone in a creative act  – dancing, writing poetry, playing music, conjuring new ways of doing anything at all.

We were asked to consider the thousands of touches it takes to create a work of visual art, or drawing, the number of movements to perfect a music piece, or a dance – untold thousands – risking failure at each touch. Richard humorously likened it to a tennis match or marathon in terms of effort involved, and of course I responded to this – how many marks do I make as a painter? Are those marks more or less neurotic doodlings?! Do they simply reflect the visual patterns of what I can see, or can I see or communicate something more profound?

I was reminded of the quote on a piece of paper that was tacked momentarily on a wall in Richard Demarco’s office, back in 1999:

He either fears his fate too much,
Or his deserts are small,
That dares not put it to the touch
To gain or lose it all. 

James Graham, 1st Marquess of Montrose

(He was probably referring to war, but a good quote nonetheless!). Richard asked us what thoughts these ideas, and his watercolours, inspired – as observers and as creative people, with the understanding that we are all creative – everyone (as Joseph Beuys famously said) is an artist. In which case , what might be the perfect creative act? Painting, music-making, dancing, singing, writing …? Richard suggested that it might actually be farming.

Which seems at first a strange suggestion, given that large-scale farming (f not small-scale or organic) too often equals exploitation or destruction.

We were asked to consider the impact of tourism on land or city-scape, and in that context –  the first known marks made by human beings – such as those in the caves of Lascaux. How did early humans experience landscape? Who were the first farmers or agriculturalists wishing to understand, live by, and perhaps revere, not simply exploit their surroundings?

Horse drawing. Caves of Lascaux, France (estimated to be 20,000 years old.)

How did early hunter-gatherers engage with their environment? How might their imagination or intellect respond to, or attempt to control the unknown that surrounded and dictated every aspect of their existence?

We were invited to think of Callanish – a pre-historic, complex arrangement of stones (Lewisian Gneiss – formed 3 billion years ago, re-arranged by humans 5 thousand years ago) on the Isle of Lewis in the Outer Hebrides …

Stones of Callanish. Photo Rose Strang 2016

They are clearly markers of the movement of stars, sun and moon – representing precise, attentive observation of all that surrounds us. The stones are also mysterious and their presence is awe-inspiring – when there you feel you’re in the presence of something profound (not just a sort of scaled-up Swiss watch!). Callanish inspires a multitude of questions and imaginative responses about every aspect of our existence. It encourages us to consider the source of knowledge – whether from our minds, or from extrinsic sources. Richard suggested we’re limited by the echo-chamber of our own thoughts – re-fed to us via social-media, or, for example, ideas fed and repeated ad-infinitum through mainstream media.

I can’t disagree with that! I was reminded of the numerous ways that landscape has profoundly affected or impacted my life. As I get older it feels ever more important to be present – to perceive what I see around me, as an artist, to the best of my ability. Maybe it’s becoming less about the marks made, since those become more instinctive – like a familiar dance that becomes, hopefully, more connected to the energy or emotion of what I see.

Now I’ve had time to mull over the ideas Richard discussed, I’m remembering the times (when I lived in Sussex for a few years) that I’d walk across the South Downs to a village called Fulking. The marks along the path left by ancient people fascinated me, because despite this being in one of the most populated regions of England, they were so few and transient – another decade or so and they’d probably be gone.

We also saw very few people on that five-mile walk, but when we arrived at the tiny village of Fulking, the pub there (called the Shepherd and Dog) thronged with tourists seeking an authentic countrified lunch experience.

Fulking sits at the foot of the downs, and has a spring that emerges from the foot of the slopes then gathers into a stream that flows past the pub. Someone has constructed a little brick shrine (arts and crafts era in style) above the water with an inscription dedicated to Ruskin (who helped build a course for the stream):

He sendeth springs

into the valleys

Which run among

the hills.

Oh that men would

praise the Lord

for his goodness

I once climbed down a steep muddy bank through tangled bushes to find the source of the water, it was pure, drinkable and icy-cold though it was mid July. It surprised me that this place, so popular with tourists, had almost no marks of modern people either at the source of the spring, or on the path that led over the downs from the coast to Fulking. It was a chalk path, worn so deep in places that the sides were above five feet.

Some months later I was visiting my grandfather, who’d grown up near Fulking in a village called Stanmer. I asked if he knew Fulking and he replied ‘I don’t know it very well personally, but I know someone who did. Your great grandfather was a sheep drover, he led sheep over the downs to Fulking’.

The precise same path I’d walked many times. It thrilled me to realise I’d been drawn to (or just chanced on maybe?) the same path hundreds of years later. Sheep-droving explained why the path was worn so deep.

That was about twenty years ago, but I believe it was integral to the way I explored landscape afterwards – one avenue of my own road to Meikle Seggie.

My grandfather’s house, Stanmer Village.

Video still from ‘Iona, October Tide’

I want to thank folks for coming along to my recent event Iona, October Tide .  Most particularly thanks to Donald Ferguson and Charlotte Robertson for a beautiful poem recital (Heine’s Questions – see text below) and a moving music performance (videos below)

Questions (Heinrich Heine)

‘Edinburgh Snow (Arthur’s Seat and Royal Mile from Regent Road). Mixed media on 24×16″ found wood panel. Rose Strang 2018.

The Limetree Gallery in Bristol will be launching their Christmas Exhibition today –  29th November  – which will include several of my paintings.

I’m really delighted to be showing as part of this exhibition, which includes a range of works by artists such as Boo Malinson, Anna King, Michael G Clark and Steven Lindsay among others. View all works in the show on this link Christmas Exhibition

(Exhibition ends December 29th)

In keeping with the winter theme, my painting Edinburgh Snow (above) will be on show, as well as paintings from the Wells of Arthur’s Seat series, and my most recent Iona, October series, all viewable on this page Artworks

(If you’re interested in any of these paintings, please contact the Limetree Gallery with any queries at their contact page – Contact )

I’m delighted to be showing with the Limetree Gallery again at this year’s Edinburgh Arts Fair.

The paintings below (from my recent Isle of Iona series) will be on show, alongside work by other artists represented by the Limetree.

The Edinburgh Art Fair runs from 23rd to 25th November, you can also buy tickets for the preview night which always has a very lively buzz.

All info here …  http://www.artedinburgh.com/home

Paintings …

‘October Sky, Isle of Iona’. Mixed media on 30×30″ wood panel. Rose Strang 2018 (£1400)

‘October Sky, Isle of Iona’. Mixed media on 10×10″ wood panel. Rose Strang 2018 (£400)

‘Marram Grass, Isle of Iona’. Mixed media on 10×10″ wood panel. Rose Strang 2018 (£400)

‘Sea Mist, Isle of Iona’. Mixed media on 10×10″ wood panel. Rose Strang 2018 (£400)

Photo from INTERIM EDITION: THE MARGARET TAIT POETRY ARCHIVE

This week I attended the opening of INTERIM EDITION: THE MARGARET TAIT POETRY ARCHIVE, showing at the Demarco Archives exhibition space in Summerhall, Edinburgh.

Curated by Dr Sarah Neely and coordinated by Fernanda Zei (exhibition curator/archivist, Demarco Archive), it’s part of the larger programme  celebrating the 100th anniversary of the birth of poet/filmmaker Margaret Tait (info here – https://www.margarettait100.com/ )

Watching her films, I’m most affected by the way she seems almost to focus on the peripheral while capturing the essence of things. It’s visceral in effect but also poetic (she often described her films as ‘film poems’) and evocative. (Links to short films by Tait at the end of this post).

There’s also what I’d describe as faith or belief in the images – her short films aren’t presented or edited in a way that offers explanation, plot or conclusion, which sounds as though it could be either surrealist or documentary-like but is neither, and of course her editing is deliberate. In a poem from ‘Origins and Elements’ she describes the way that filming fed her way of seeing (apologies for blurry image, these are my photos) …

It was a creative approach that excluded her from conventional success in many ways, partly  due to her being female in an area led almost exclusively by men in those decades (though she was to some extent part of a circle that included poets such as McDiarmid and Sorley MacLean). Her motivation was purely creative though, and it didn’t matter to her that at times a lack of income meant sleeping in her car (a fact the press focused on at times, to her bemusement).

She resisted labelling of her work, not from any wish to be unique but more from her personal understanding of the nature of her own life and creative reality (text from exhibition) …

Photo from INTERIM EDITION: THE MARGARET TAIT POETRY ARCHIVE

The opening of the exhibition this week included beautiful poetry readings by actress, singer/song writer and poet Gerda Stevenson, who’d appeared in Tait’s feature-length film Blue Black Permanent. Also brief presentations by exhibition co-ordinator Fernanda Zei, and curator Dr Sarah Nealy.

Dr Sarah Nealy had explored the Tait archive to collate work for the larger centenary celebration of Margaret Tait, and she spoke about the recurring instances of support by Richard Demarco over the years, evidenced in numerous letters  (Richard would have attended and co-presented the opening but is currently abroad).

This letter offers an example of his admiration and support for her work. I’ve no idea if there was follow-up from actor Sean Connery, a supporter of the Demarco Gallery during its early days in the 1960’s. (I include a transcript since my photo is blurry!)…

Dear Sean,

I am sending you a very important little brown envelope, containing a personal letter from Margaret Tait, my favourite Scottish poet and filmmaker. You will remember that marvellous book of hers that you bought from the gallery ‘Origins and Elements’.

Margaret Tait wants to make a feature film and she has given me some idea of it and I feel that it could be of great importance, as she says, the film is about the sea, about poetry, about Scotland, about communication and about some people. She wants to you to act in it. She sees you in two different parts. She has also written to Liz MacLennan who knows about her films (she saw them at my summer school showing).

You know already how highly I regard Margaret Tait and her work. She is a classic example of a first class Scot living here and being ignored, with something significant to say to the whole world about Scotland.

Yours

Richard Demarco

Gallery Director

As always I recommend a visit to the exhibition in person – it’s rich in material about her life and work –  ideas, poetry, photos and articles. I felt moved by it, and in some small way emboldened – her creative courage is an inspiration.

INTERIM EDITION: THE MARGARET TAIT POETRY ARCHIVE runs from Thursday 8 November to Sunday 6 January 2019 at the Demarco Archives exhibition space at Summerhall.

A few links to Margaret Tait’s films:

One is One – http://movingimage.nls.uk/film/6229

Tailpiece – http://movingimage.nls.uk/film/6233

Biography – https://vimeo.com/240306939

‘October Tide. Isle of Iona’. Mixed media on 30×30 ” wood panel. Rose Strang 2018

The last painting for the Limetree Gallery, and the October Iona series, finished today!

I will await my return to Edinburgh to blog more, since each of these posts takes around 2 hours due to slow connection!

The next two days will be holiday time, but I’ll be posting much more about my stay here when I return to Edinburgh on the 5th November, including photos and info on Iona, the hostel, studio space, and about the lovely people (John, Mark, Chris and Maddie) who make this place an oasis for countless people in summer, and for artists throughout winter. It has been absolutely rewarding.

Thank you!

In progress, mixed media on 30×30 inch wood panel

Almost finished with the largest painting (above, 30×30 inches) of the Iona Series, for the up-coming Limetree Gallery exhibitions. All details below …

‘Pisces Moon, Isle of Iona. Mixed media on 10×10″ wood panel. Rose Strang 2018

‘Sea Mist, October, Isle of Iona. Mixed media on 10×10 ” wood panel. Rose Strang 2018

‘Ochre Rocks, North Beach, Isle of Iona. Mixed media on 10×10″ wood panel. Rose Strang 2018

‘Marram Grass, North Beach in October. Isle of Iona’. Mixed media on 10×10″ wood panel. Rose Strang 2018

Ifyou’re in Edinburgh this November, drop in to see the Edinburgh Art Fair, where the Limetree Gallery will be exhibiting all five paintings at the top of this post, as part of a group show.

The Edinburgh Art Fair runs from the 23rd to 25th November, all details here ..

http://www.artedinburgh.com/home

On November 29th, The Limetree Gallery, Bristol, launch their Winter Exhibition, which will also include some of my Iona series as part of a group show.

If you’re interested in any of these paintings (above) you can contact the Limetree Gallery through their website, on this link ..

http://www.limetreegallery.com

‘Sea Mist, Isle of Iona. Mixed media on 10×10 ” wood panel. Rose Strang 2018

In progress, mixed media 30×30 inches

A somewhat cloudy and blustery day today, very productive though – two paintings sent off to the Resipole Gallery, the rest of the smaller paintings nearly finished, and the biggest one on its way.

The Resipole exhibition starts on the 9th November, so if you are interested in either of these two works below, you can contact the gallery through their website – http://www.resipolestudios.co.uk

‘Cerulean Sea, October, Isle of Iona’. Mixed media on 10×10″ wood panel. Rose Strang 2018

‘October Tide, Isle of Iona. Mixed media on 10×10 ” wood panel. Rose Strang 2018

A nice sunset this evening, here’s a Highland machine and it’s offspring in the gloaming. (My alternative to Highland Cattle) ..

‘Pisces Moon. Isle of Iona, October’. Mixed media on 10×10″ wood panel. Rose Strang 2018

Another bright and sunny day, though freezing and windy.

It made me work with extra energy in the studio, just to keep warm. Here they are so far, some in progress ..

I’m now happy with ‘Pisces Moon’ (at the top of this post) which has more depth, and something of the weird opalescent colours and mood I saw that evening last week.

I’d heard the full moon was in Pisces and forgot about it. Then about 5:45 after feeling quite agitated I decided to get on my boots and coat and despite the blustery rain, walk down to the north beach, which is just a few minutes walk away from the hostel.

I was immediately soothed and entranced by the way early evening light played on the sea, which seemed to be in a slow motion tumult, lit by diffused, misty pale greens and lavender.

Then I remembered that the moon entered the constellation of Pisces at precisely 5:45, and I suppose this fed in to my wish to create a painting that captures all of that. I always fall short of what I want to achieve, and usually the paintings that really work are those I’m not so invested in, it makes me more free with paint and brushwork – some people prefer a photo-realistic look, I don’t, but anyway, at least I’ve captured a bit of the mood and colour of that evening.

It’s interesting to experience the tides of people here at the hostel too, depending on mood it’s enjoyable, or not!

Being a fairly introverted person at times, I was concerned I’d feel as though I was stuck in the ‘Big Brother’ house with nowhere to run! Not so, thankfully. I’m very happy to have met some folks here..

Such as Mary McCormick, who’s staying for the duration of my time here. Mary’s nomadic life is admirable, I empathise with her wish to travel and experience new places, since I too get restless within a week of being back home, but I know it’s also a challenge to not have the luxury of a permanent base to return to every so often to unwind and do your own thing. Maybe that’s why Mary’s easy to be around, grounded and friendly while quite self contained in a good way.

After painting today, I bumped into Mary at St Columba hotel and we visited St Oran’s. Chapel ( the oldest intact building on the island, 11th cent.) I love those cloud-like shapes in the wall plaster.

Also, I really enjoyed meeting fellow travellers Marcus and Mary. Here they are (below) on the hostel communal sofa. Excellent people – Marcus very warm and humorous, Mary also fun and convivial, with the added bonus of a beautiful singing voice – they’re  missed!

On Halloween, or Samhain, the hostel staff plan a get together around the stove in the art studio/byre. I look forward to that.