Twenty three years ago, when I worked as assistant archivist/curator for the Demarco European Art Foundation, I asked Richard Demarco how someone might define the Road to Meikle Seggie. ‘You can’t define it!’, he exclaimed.

This is true, but in the first instance at least The Road to Meikle Seggie describes a road sign that Richard and friends discovered as part of his Edinburgh Arts Journeys many years ago. Pointing up a track, the sign read: Meikle Seggie and after following this sign for some time it gradually became apparent that Meikle Seggie (probably the name of a farm) probably didn’t exist!

Near Meikle Seggie. Edinburgh Arts 1974. (photo courtesy Royal Scottish Academy

On this journey though, Richard and his friends (a gathering of artists and creative thinkers) experienced a heightened awareness of everything that they encountered. In the act of observing, we can be aware and as sensitive to our surroundings as a new-born child, or we can be closed to the wonder and meaning of all we encounter. The former is a challenge, the latter perhaps the result in part of mind-numbing bureacracy, the echo chamber of media and news, or any number of difficulties we face in life.

When Richard Demarco began Edinburgh Arts journeys in the 1970’s he described it as similar to “opening a door beyond which lay the reality of my dreams of a world beyond the confines of the 20th century”. For Richard, this world promised:

“.. a landscape I would wish to define with pen and ink and watercolour. Each bend and corner would be like another door opening up gradually more and more aspects of the landscape I had known in my childhood when every door and every road was an invitation to a mysterious space, forever desireable and forever new. It was the sacred threshold through which I had to pass which would reveal the space in which I would seek freedom from all linear concepts of time”. (1).

So it was fitting that on our trip to the Carmeite friary and effigy this weekend, we were accompanied by my niece Emma Mases Strang, her partner Manuel Pennuto and their adorable seven-week old baby (to whom I’m a great aunt!); Atlas. As Richard remarked – “that little boy has within him now all you need to understand the wonder of life”.

Also joining us were Robert and Pamela de Mey, respectively a psychiatrist/arts curator and a doctor. Both friends of the Demarco Trust and art collectors with a deep interest in all that inspires creativity (Robert de Mey’s recent book about Scottish artist Rae –  Ronald Rae: An Inner Life – can be found Here)

Robert’s follow up email summed up our experience perfectly. I hope he doesn’t mind me sharing it here:

What a wonderful and spiritual journey we had yesterday, and thanks are due to everyone for making it happen. The ensnarement of our endlessly complicated system for living (symbolised by the blocked A1); replaced by peace, a shared discourse, generous love, and the pilgrims’ path to the tomb. The effigy of David de Lindsay seemed both peaceful and vulnerable, in its posture and rotated form, and through being slowly absorbed by the physical elements. We look forward to more ‘journeys of enlightenment.

Photo Adam Brewster

Thanks to all who made it such a special day, especially my husband Adam Brewster. It has added immeasurably to my creative response to Aberlady. Thanks also to Hilary Wilkies for allowing us access through her garden to visit the friary, it’s much appreciated!