Tag Archives: lindisfarne

Project progress …

‘Aberlady. Winter Light’. Mixed media on 13×13 wood panel. Rose Strang 2020.

‘Aberlady Bay. Dusk’. Mixed media on 13×13 wood panel. Rose Strang 2020.

Above, today’s paintings of Aberlady – different moods and ways of painting the landscape.

I mentioned a while back that I’m taking things slower this year. I think I’ve maybe painted too busily these past few years, and it’s time to have a deeper think about the ideas that inspire me. It’s good to have a bit more time to contemplate and let projects grow more organically.

This year I’m working on three large paintings in response to the 7th century pilgrim’s route from the Isle of Iona to the isle of Lindisfarne, via Aberlady on the east coast of Scotland.

I’m collaborating with my partner Adam, who’s creating music and probably paintings too in response to the places and ideas. I’m creating a little video of each place, so eventually there will be a video showing footage of landscapes, music by Adam and paintings by myself.

I want to explore what pilgrimage meant in those days in contrast to now. We often talk about ‘mindfulness’ or the peace of solitude and retreat, but what is it really like to remain in solitude or silence for weeks on end? I know that I found it a challenge when I camped on Iona by myself for twenty one days in 2018. Part of that was physical challenge (slugs crawling up the tent, numerous over-friendly spiders that hitched a lift on my clothing whenever I entered the sleeping compartment, howling winds shaking the tent all night for the best part of twenty one days, also the sound of the Corncrake is really not pleasant to my ear!) but it also shook up my emotions. There were beautiful moments, but you have to be self-contained on such adventures; how you relate to people changes somehow.

My plan is to talk to some modern-day pilgrims; people who’ve immersed themselves in these landscapes of Iona and Lindisfarne in a spiritual or personal search for meaning. One of those people is a family friend called Jamie. Jamie was a monk for many years, he also lived on the Isle of Lindisfarne for a time, serving the community there as part of the Hilda and St Aidan Centre.

He took a deep commitment into his spiritual path, at one stage taking a long-term vow of silence to contemplate and, I suppose, face deeper questions about faith and commitment. (You can view an earlier post in which I interviewed Jamie here: The Healing Island).

I was delighted that Jamie recently commissioned me to paint a large-scale painting of Aberlady for his home. It will be an absolute pleasure to paint. I’ll be posting our interview on this blog later this year and it will be (I hope!) a more close and personal exploration of faith and healing, landscape and solitude.

Taking vows of silence, or seeking solitude in remote places is challenging. Recently I contacted a film producer and artist acquaintance to chat about all these ideas; landscape, creativity, healing, spirituality and pilgrimage past and present … and I’m excited about the results of our email conversation. It looks like this project may expand beyond my little video and three large paintings!

I’ll post more about this soon once a few more details are confirmed…

Three paintings

Photo: Aberlady. Rose Strang 2020

This year I’ll be working on an arts and music project with Adam Brewster in response to three places: the isle of Iona, Aberlady and the isle of Lindisfarne. Other collaborators will also probably be involved as the project develops, such as Donald Ferguson and Atzi Muramatsu.

I’ve worked with Adam, Atzi and Donald on previous projects, all viewable on the ‘Collaborations’ tab in the menu above,so I’m very excited about this one!

The theme is loosely based around the fact that in the 7th century, the route from Iona to Lindisfarne via Aberlady was a pilgrim route. Our project will involve themes I’ve been exploring for many years – landscape, spirituality and history and not least the element of mystery since not much is known of those times!

Pilgrim map from website: eastlothianheritage.co.uk

Pilgrim map from website: eastlothianheritage.co.uk







Adam will be creating music for the project and I’ll also edit a video showing footage of the places interspersed with Adam’s music and the three paintings.

Other than that, I plan to paint a bit less frenetically this year and solely on request, for example if a gallery would like to put on a solo or small group show, or private commissions, which will give me time to develop paintings more slowly and to explore themes in more depth.

I’ll post updates as I go, in the meantime, here are some photos of our recent trip to Aberlady and paintings from Iona and Lindisfarne from previous years …

Aberlady. Rose Strang 2020

Aberlady. Rose Strang 2020













Lindisfarne, 2014

Iona, 2018






Learn to paint on Lindisfarne..

Lindisfarne_castle_at_sunset,_boats_at_low_tideJust two weeks now until my landscape painting workshop begins!

I’ll be running this workshop on the 13th and 14th August, there will be loads of tips, encouragement and feedback for beginners. You’ll definitely emerge from this having learned a lot about painting landscape, from selecting a view, composition, line-work, sketching, capturing tone and light, colour, texture and more…

These workshops are provided by the Peregrini Lindisfarne Landscape Partnership Trust, completely free (materials also provided). To book your place for either or for both days, please contact Ros Duncan – ros.duncan@northumberland.gov.uk

More info on the workshops Here

Other news; I’m currently planning my Hebridean creative adventure with author/poet Louise Palfreyman and (of course!) composer/cellist Atzi Muramatsu.

More on that tomorrow…

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”


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.


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


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)

‘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/

Sea and Sky, Lindisfarne

Stormy Sky Lindisfarne


Sea from Castle Point, LindisfarneThese are my latest paintings of Lindisfarne as part of the new series for exhibition at the Marchmont Gallery on the 22nd November

It’s an entirely different light and feel to the Eigg, or West Coast landscape  – more easily described through painting than words, unless you’re a writer! The first painting, Stormy Sky, Lindisfarne looks east towards a small island, which you can walk to at low tide, where St Cuthbert is said to have meditated.

I sat on the shore watching the sky change from silver to black then blue, flocks of birds rising in clouds then speeding along the wave tops. The changes in light were fascinating  – from moodily ominous to gentle, within seconds.

The second painting, Waves from Castle Point, Lindisfarne looks directly south across the sea from near Lindisfarne Castle. The light was beginning to fade slightly, with the low October sun lighting up steely blue waves, which became more choppy as stronger winds began to pick up. This was not much more than half an hour before dark, but there was still enough sunlight to cast rays through the waves, revealing glints of emerald-green

I’d first visited the island in June last year, when the light was entirely different- far softer and less changeable – visiting in October was ideal for painting. I wondered how those early saints, Aidan, Hilda and Cuthbert, might have felt, looking across to a mainland perpetually in upheaval – battles, new religions, new people fighting for territory – everything must have seemed in flux. Northumbria rarely saw peace from the 7th and right up until the 19th century.

Everything was changing too for the old country religions still practiced by ordinary people, and the fact that we know very little about them tells a story in itself, although Aidan, Hilda and Cuthbert practiced Celtic-influenced Christianity – adapted to old religions and ways of thinking, more in tune with the landscape and its cycles.