Tag Archives: rose strang art

50 Paintings of Eigg Series No. 27

Eigg Series No. 27. Acrylic on 5x5" wood

Eigg Series No. 27. Acrylic on 5×5″ wood

P1110227Today’s painting – a house nestling beneath the cliffs of Cleadale on Eigg’s West Coast. Painted in acrylic with palette knife

 

 

Now, a little while ago, I mentioned my friend who accompanied me to Eigg and adopted a rock from the Singing Sands, so today I’m pleased to introduce you to both Donald Ferguson and his rock

donald 1

Rose: Donald, thank you for sharing your excellent photographs with us today and for creating a video (below) for which you’ve created a brief soundtrack, firstly can you tell us a little about that?

Donald: The recorded sounds are from http://noosphere.princeton.edu/onepage.html which is a Princeton physics experiment to do with global consciousness.

R: What drew you to the rock in Singing Sands Bay?

D: It’s amazing! Its two halves, its holes, its weight, shape and all-round rockness. That the holes link up to enable it to be hung is a later discovery which adds to its amazingness.

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Photo by Donald Ferguson

R: Do you feel a personal connection to the rock?

D: Although I’ve named and gendered the boulder (Petre – he was almost going to be called Trevor after the bassist in the Spiders from Mars) I don’t think of it as human, so there isn’t really a personal connection. It’s more an aesthetic, kinetic thing.

Petre at home

Petre by Donald Ferguson

R: It strikes me that around 20 million years ago, Petre would have been formed from the sandstone plateau that forms the most ancient rock formations of the Isle of Eigg, so in effect (and without being too dramatic) you’ve wrested him from the bosom of his forbears where he had so far resided undisturbed for millennia, how do you feel about that?

D: I do feel a bit bad about re-siting it and so depriving people the chance of experiencing it in its original setting. I might take it back one day, and meanwhile it is being experienced in new ways by a different audience. I like to see myself as a custodian more than a thief/owner.

R: What does Petre add to your life back in Edinburgh? Do you sit and watch him in the evenings and if so how does that compare to TV?

D: Opening the curtains in the morning gives it an energy input, and when I return, showered, to sit with coffee for ten minutes before leaving the house it’s still gently oscillating, which is strangely calming/reassuring.

R: Thanks for sharing your creations with us today Donald, I think the video is oddly compelling, and the photographs are truly wonderful. If any readers are interested in prints of these do let me know..

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50 Paintings of Eigg Series No. 26

Eigg Series No. 26. Ink and acrylic on 5x5" wood

Eigg Series No. 26. Ink and acrylic on 5×5″ wood

P1110222Land emerging from low-lying clouds on Laig Bay – a gentle return to the 50 paintings series after my brief holiday! There’s always the slight worry that after a break it’ll be hard to focus but I find that I’m welcoming the peace and calm of familiar routine

 

I was in London to see a Scott Matthews gig, then in Birmingham where I caught up with friends (I lived in Birmingham for a couple of years while working as an arts curator for the NHS). It’s a somewhat maligned city but with over 8000 acres of parks it’s actually one of the UK’s greenest cities

I used to love the walk to and from work through the parks of Moseley, Edgebaston and Selly Oak (it was the work aspect in the middle that I struggled with – the NHS management division didn’t turn out to be the ideal climate for a creative mind!)

So when I return I always visit Canonhill Park to reconnect with its geese, squirrels and trees, and just for today I thought I’d post a few photos taken over the years..

(In the next week I’ll be posting about Eigg’s Eco Centre and also talking to Camille Dressler, one of Eigg’s historians. I’m also hoping she has some archival photos of Eigg’s past inhabitants to share with us)

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50 Paintings of Eigg Series No. 25

Eigg Series No. 25b. Ink and varnish on 5x5" wood

Eigg Series No. 25b. Ink and varnish on 5×5″ wood

Eigg Series No. 25a. Ink and varnish on 5x5" wood

Eigg Series No. 25a. Ink and varnish on 5×5″ wood

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Today I’m offering two paintings for £55 – two ink on wood sketches of a boat in Eigg’s Pier Bay. (Also, as mentioned I’m away for a week so the next post will be Saturday 12th May. I’m always contactable by email at rose.strang@gmail.com)

One of the reasons I like working with pallete knife, or ink, is that the effects are slightly unpredictable, this gives the painting a less ‘tight’ dynamic. It’s like un-learning how you see, and there are various ways artists do this…

My first experiment with this was pre-art college, while taking life drawing classes. We were asked to attach our charcoal to the end of a foot-long paint brush and draw with it, which sounds completely counter-intuitive because you’d imagine more control would be the way forward. But it helped me make stronger decisions, also to stand back a little from the paper to see what I was doing.

If you’re someone who draws or you’ve been to art college, you probably already know this, but another well known example is to draw a picture from an upside down image. (I’m going to give you an example to try out at the end of this post, so have paper and pencil or pen ready if you’d like to give it a shot!)

To show what I mean about loosening up your drawing, here’s one of my early drawings pre-art college ..

P1100931Very detailed, but no expression. I’ve tried to draw everything in an attempt to get it right. Rather than look for the essentials I’ve included every crease and fold. I was probably standing about an inch away from the paper! As a consequence it looks un-spontaneous and kind of…adolescent! But it doesn’t make me cringe, I can see I was committed at least.

 

Later in my first year in art foundation class. We’d spend 7 hours at a time drawing from life under the tutelage of Bill Gillan (he gave great advice and went on to become the President of the SSA  – Scottish Society of Artists). I’ve just looked online,  to discover that he’s now very unwell, and I’ve also missed a recent exhibition of his work, so I hope there’s another. Link to exhibition Here where you can see a couple of his paintings)

Here are some of my drawings from Art Foundation class…

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You can see the struggle to ‘see’, but I’m starting to make better decisions and trying to pare it down. Also letting myself make mistakes.

 

 

 

 

 

 

(The eye on the left is my own, looking a bit ‘starey’ for obvious reasons! On the right is my niece Emma’s eye when she was three)

 

 

P1320511This last one shows I’m getting the hang of it, and starting to say more with less, so the drawing has more energy and tension.

It’s a bit of a pity that I’ve lost all the later drawings, which did get better. Somewhere among my various flat-moves I misplaced them.

But I didn’t pursue life drawing as I was more interested in landscape, particularly water – first through 3 D work (example below). Then through painting. I prefer the freedom of painting landscape to painting portraits and find more expression there.

Flow

 

 

 

 

 

 

But I do still enjoy line-work and illustration, especially in ink – so occasionally dip back into it..

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My sister in a canoe. And a horse

 

 

 

 

 

On the left, one of my favourite illustrators, Pauline Baynes who illustrated the Narnia Chronicles.

 

 

 

Hmm, ‘Canter Bree, canter’! Not quite the same energy, it was very good practice though..

 

 

And now, here’s that upside down drawing (don’t look at it the right way round!) try it out – just draw the shapes, do it quickly and don’t worry about mistakes, then when you’ve finished turn it up the right way, it’s very interesting!Picasso, Portrait of Igor Stravinsky

Lastly three lesser known sketches from the very best (the above sketch is Igor Stravinsky by Picasso):

Picasso, Horse

Picasso, Horse

matisse from Le Jockeys Camouflers

From Le Jockeys Camouflers. Matisse

Danseuse Acrobate, Matisse

Danseuse Acrobate, Matisse

 

 

 

 

 

 

 

 

 

50 Paintings of Eigg Series No. 24

Eigg Series No. 24. Acrylic on 5x5" wood

Eigg Series No. 24. Acrylic on 5×5″ wood

P1100926Today’s painting is the side view of cosy Cuagach Bothy, in which I stayed on Eigg.

 

 

Cuagach Bothy is the most affordable place to stay on the island, but also one of the most characterful. As mentioned before, it’s owned by Maggie Fyffe, who told the story of Eigg’s community buy out of the island on Day 17.

You never know though, how things are going to be until you get there. It was still very overcast the first evening we arrived, so on arrival at the bothy we immediately began setting the fire, or stove. I went outside to attempt to chop some logs, (hoping there weren’t any islanders watching, thinking ‘She’ll be from the city then’ !).

Once the fire got going (The bothy’s walls are incredibly thick, as you can see from the photo of the window recess below, so all the heat is retained) we walked down to Laig Bay, where mountains emerging among the clouds high up in the sky gave me a small shock! By the time we came back the bothy was already warm, and smoky, since we’d left a damp log on top of the stove!P1150434

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My Cuagach stove sketch!

The bothy is quite simple – one room (with a separate loo and shower) a platform bed at either end of the room and a kitchen area in the middle with oven and sink.

 

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I liked all the little things people had left behind after their stay; arrangements of rocks, shells, bits and pieces from the beach..

 

 

By the end of the trip I felt I’d found everything I came for – the islanders were so helpful P1150534with my project. And as with other small islands I’ve visited, everyone knows everyone else, doors are never closed and there’s a lovely informality

Back in Edinburgh now, I’m missing the scenery and fresh air (also the time to actually focus – the city is so full of interruptions!) but all being well I’ll be in Eigg again for a longer trip in September this year.

Tomorrow will be Day 25 of 50 days of Eigg – the halfway point! After tomorrow’s painting and post I’m off to London and Birmingham for a few days, and won’t be posting until Saturday 12th when full painting and blogging service will resume!

And..

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50 Paintings of Eigg Series No. 20

Eigg Series No. 20. Acrylic on 5x5" wood

Eigg Series No. 20. Acrylic on 5×5″ wood

detailA peaceful wave in the rain on Singing Sands Bay. The rain was very light so there was a lovely soft glow over everything. I usually use gesso for a semi opaque rainy haze.

So far I’ve painted scenes of Eigg but as yet no details of the flora and fauna of the island, so at sometime in the next week or so I’ll introduce you to my good friend, and traveling companion to Eigg, Donald Ferguson, who took some beautiful photographs of stones, rocks and sand.

Donald also adopted a rock from the Singing Sands Bay which is now attached to a steel cable and swings gently above a large window in his house. I’m sure he can be persuaded to post a video of it, with the view of Edinburgh’s Arthur’s Seat in the background!

In the meantime here’s an incidental in front of the cliffs of Cleadale, left behind by a glacier millions of years ago..

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50 Paintings of Eigg Series No. 19

Eigg Series No. 19. Acrylic and ink on 5x5" wood

Eigg Series No. 19. Acrylic and ink on 5×5″ wood

P1100792Today’s painting, another view of the mountains of Rum from Laig Bay.

It’s a busy time at the moment but in a few days I’ll be posting more about Eigg. It’s had a troubled history; Viking invasions and Norse occupation, then the increasing greed of landowners which forced many people to emigrate, followed by Highland Clearances.

Poor Eigg, but It’s a story repeated across Scotland of course, and it’s only in recent decades that the Highlands and West Coast of Scotland have seen an improvement in land management. As mentioned in my post on Day 18, Eigg has developed even further, with the community buy out and the renewable energy system supplying the island 24 hours a day.

One of the best documentary series I’ve watched about Scotland’s landscape and history was by Dr Iain Stewart (described by the Scottish Herald as ‘the James Bond of geology’…). Normally he’s in teaching-schools-mode and can be somewhat wearisomely enthusiastic, but he’s very amusing in this series and it’s quite magical..

(Part 1 of 5 documentaries – all 5 can be found on You Tube)..

 

50 Paintings of Eigg Series No. 18

Eigg Series No. 18. Acrylic and ink on 5x5" wood

Eigg Series No. 18. Acrylic and ink on 5×5″ wood

P1100768Laig Bay and the mountains of Rum in ink, acrylic and varnish.

Mountains always look so other worldly when viewed from across the sea – like a mystical land. But I have visited Rum, back in the mists of time – as a teenager. Even as a somewhat grumpy 13 year old I appreciated the beauty of the island, but had my first experience of the mid-July Highland midge. Dealing with them requires spray repellants with an intense synthetic lemon/oven-cleaner aroma, or a midge head net/bed-net. Or failing that, calm acceptance that this mass hoard of miniature vampires has its rightful place in the ecosystem.

The key is to avoid inland water areas, especially bogs or marshland, seek breezy coastal areas or higher ground and avoid exposure at dusk when they’re most active!

 

 

50 Paintings of Eigg Series No. 17

Eigg Series. No 17. Acrylic on 5x5" wood

Eigg Series. No 17. Acrylic on 5×5″ wood (Not for sale)

Today’s painting – one of Eigg’s many primroses…P1100748

These cheerful spring wild-flowers are in abundance on the island and seem an appropriate choice for today’s subject; the 1996 community buy out of Eigg, which earned world-wide renown in the late 90s as an example of positive and successful land reform

Every year the Eigg community celebrates the buy-out with an anniversary Ceilidh, it means a lot to islanders, and it’s an inspiring story. So I decided to get in touch with Maggie Fyffe, Administrator of the Eigg Heritage Trust, to find out more …

Maggie Fyffe

Photograph © Keith Brame

Rose: Hi Maggie, When I arrived on Eigg this year, it was only when I chatted with Lucy Conway that I realised we were staying in your bothy and you were just across the road! But after a few days on the island you realise what a close-knit, friendly community it is.

I recently read your article which described the difficult conditions Eigg dwellers found themselves in before the community buy out in 1996, and looking at the island now, it’s difficult to believe (considering it was 1996 not the 18th century!) just how difficult life had become for islanders.

So firstly, some would say that living on a remote island could be a challenging lifestyle. How did you first come to the island, and what made you want to move to Eigg?

Maggie: We were living on the east coast but had always wanted to live on the west coast. We were involved with a craft workshop near Portsoy – Keith Schellenberg visited & expressed his interest in setting up something similar on Eigg – he offered us a job & the rest is history! (that was 1976)

Rose: Can you tell me what you do now on Eigg?

Maggie: I’m employed by Isle of Eigg Heritage Trust as administration secretary. This involves doing accounts & paperwork for IEHT and its 3 subsidiary companies, Eigg Trading, Eigg Construction & Eigg Electric. I’m also voluntary treasurer for Eigg Residents Association & Eigg Community Hall.

R: Can you tell me a little more about that time back then, how was it for islanders and what were the issues they faced?

M: Most of the indigenous islanders lived on crofts so had security but anyone working for the estate lived in a tied cottage & felt insecure

R: What was it that made islanders distrust or become frustrated with landowners over the years, can you give a few examples of their approach to caring for the island?

M: It’s hard to explain – but mostly because of the unwillingness to grant leases on houses & businesses. One catalyst was (Landowner) Keith Schellenberg trying to evict the Carr family (who had five children) and the Scottish Wildlife Trust warden, John Chester – the community was in agreement that we couldn’t let that happen.

This was followed by Maruma (the second landowner) purchasing the island; after the initial reaction of “cautiously optimistic” it soon became apparent that he didn’t have the money to make the improvements he’d suggested

R: What would you say was the turning point from hoping landowners might live up to promises, to deciding to go it alone as a community?

M: Although it had been talked about – the turning point came when the original Eigg Trust (a group of 4 people connected to Eigg with an interest in land reform) brought their ideas for a buy out for the community’s consideration. A vote of all residents was held with the result of a big majority in favour of supporting this.

R: What was the response to that decision, from landowners, other trusts and the media in general?

M: We had some negative press but in the main, we received a lot of support from the media

R: I’ve read that the the island was valued at 2 million. How did you build support for your bid to buy the island as a community, and how was money raised?

M: We received somewhere in the region of 10,000 donations from members of the general public (only £17K was received from public bodies) including one donation of £1m!

R: Can you tell me a bit about the bidding process, the outcome and how you and the islanders felt after the result?

M: In November 96, our initial bid of £1.2m (based on an independent valuation & all the money we had raised) was rejected as it didn’t reach the £2m asking price. We carried on fundraising & by the following March, we decided to submit a further bid of £1.5m – this was what Maruma had paid for the island & we were unwilling to exceed this amount on principle.

It was at this point that we discovered that Maruma had defaulted on a loan & his creditors had taken over the sale. After a nerve-racking week, they eventually accepted our offer on 4th April 97 and islanders were jubilant!

R: Would you say there’s a definite difference in Eigg since the buy out?

M: It’s the difference between night & day. To name but a few…all trust properties now have long term tenants (with long term leases) and 3 farms also have appropriate leases. 7 houses have been renovated. We have built An Laimhrig which houses a shop, tearoom, craft shop all of which are leased to residents to run as their own business. We have initiated an ongoing forestry project with all the work being done by local folk.

We have installed an award winning renewable energy system which with 24 hour power has improved life no end. And the population has increased from 63 in 1997 to 96 in 2014 with a lot of our young folk moving back to live.

R: Lastly, would you say the experience changed you as a person? If so in what ways?

M: I used to be a craft worker & would never have guessed that I would end up being an admin secretary ~ a job that can be quite taxing at times but incredibly rewarding ~ every day is different. You’ll maybe need to ask someone else about how I’ve changed but I’m incredibly proud of what the community here has achieved…

R: Thank you Maggie for sharing the inspiring story of Eigg’s community buy out. And (though I’m over a decade late in saying this!); congratulations to the islanders on all they’ve achieved for the island and its inhabitants.

In the next few weeks I’ll post more information about the island moving to renewable, environmentally friendly energy..

And lastly – for further reading about Eigg and the Hebrides, a book by Alastair McIntosh ‘Soil and Soul – People Versus Corporate Power‘ is available Here

16 paintings of Eigg (34 to go!)

Hello everyone and thank you for viewing the Eigg series which I’m painting from the 10th April to the 29th May

Also, sincere thanks to the people who have bought some of the paintings (this will help fund the next stage of the Eigg project throughout the year) I hope you enjoy the paintings!

Below is a round-up of all available paintings so far. These are all 5×5 inches, £45 each (including postage), and have a small hook attached to the back. (If you would like a fine art print of these at double the size (10×10 inch giclee print) these are £38 including postage).

Feel free to email me with any queries at rose.strang@gmail.com

Many thanks for your interest, and to Eigg Box and The Small Isles for the facebook shares and likes!

Available paintings:

(to find out more about the paintings, simply click on ‘Home’ and scroll down the previous blog posts)

Ink and acrylic on 5x5" wood

Eigg Series. No. 16. Acrylic and ink on 5×5″ wood

Eigg Series. No 14. Acrylic on 5x5" wood

Eigg Series. No 14. Acrylic on 5×5″ wood

Eigg Series. No. 13. Ink, gesso and varnish on 5x5" wood

Eigg Series. No. 13. Ink, gesso and varnish on 5×5″ wood

Eigg Series. No. 8. Ink, sand and acrylic on 5x5" wood

Eigg Series. No. 8. Ink, sand and acrylic on 5×5″ wood

Eigg Series. No 8. Acrylic, ink, salt and sand on 5x5" wood

Eigg Series. No 8. Acrylic, ink, salt and sand on 5×5″ wood

Eigg Series. No 6. Acrylic on 5x5" wood

Eigg Series. No 6. Acrylic on 5×5″ wood

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Eigg Series No 4. Acrylic on 5x4 inch wood

Eigg Series No 4. Acrylic on 5×4 inch wood

 

 

 

 

 

 

 

 

 

 

The following paintings have sold:

Eigg Series. No 15. Acrylic and ink on 5x5" wood

Eigg Series. No 15. Acrylic and ink on 5×5″ wood (Reserved)

Eigg Series. No. 12. Acrylic on 5x5 " wood

Eigg Series. No. 12. Acrylic on 5×5 ” wood (Sold)

Eigg Series. No. 10. Acrylic, ink and salt on 5x5" wood

Eigg Series. No. 10. Acrylic, ink and salt on 5×5″ wood (Sold)

Eigg Series No 9. Acrylic and ink on 5x5" wood

Eigg Series No 9. Acrylic and ink on 5×5″ wood (Sold)

Eigg Series. No 5. Acrylic on 5x5 inch wood

Eigg Series. No 5. Acrylic on 5×5 inch wood (Sold)

Eigg Series. No 3. Acrylic, ink and salt on 5x5 inch wood

Eigg Series. No 3. Acrylic, ink and salt on 5×5 inch wood (Sold)

Eigg Series No. 2. Acrylic, ink and varnish on 5x5 inch wood

Eigg Series No. 2. Acrylic, ink and varnish on 5×5 inch wood (Sold)

Eigg Series. No 1. Acrylic and ink on 5x5 inch wood

Eigg Series. No 1. Acrylic and ink on 5×5 inch wood (Sold)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

50 Paintings of Eigg Series. No. 12

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Today’s painting is a misty bird’s-eye view of Sgorr an Fharaidh (the cliffs at Cleadale); the setting for an atmospheric sculpture of Sweeney (or Suibhne in Gaelic) by artist Trevor Leat, which I discovered on a twilit evening amongst the rocks at the foot of the cliffs.

 

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I was curious to know more about the stories and myths behind the character of Sweeney; described as a mad-man or bird-man, or denounced as mad then cursed and ostracised for his beliefs. I got in touch with Trevor, a former resident of Eigg, who now lives and works in Dumfriesshire, to ask about the background and inspiration to the sculpture…

 

 

 

Rose: Trevor, can you firstly tell me a little about your background as an artist and what you do?

Trevor: Well I trained as basketmaker years ago. Then began working on outdoor performance projects and theatre companies making large scale sculptures…often involving fire. This has continued to develop and my work now tends to be of more figurative creatures for private and public places

moongate n Trevor

R: What’s the background to the Sweeney project and can you tell me how you became involved?

T: I lived on Eigg for 10 years so when the Bothy Project started up there I was invited to an artist in residence.

 

R: So who was Sweeney and what are the myths and stories about him?

T: Sweeney was an Irish king around 6/7thC who fell out with a Christian monk who was trying to convert his subjects. As a result a curse was placed on him and for seven years he wandered naked in Ireland and Britain, roosting in trees and becoming birdlike. It’s suggested that he came to Eigg at some point. He eventually died a sad death, perhaps stabbed by a jealous sword or antler . He chanted an epic poem during his madness which survives and has been translated and interpreted.

sweeney on his throne

R: What does Sweeney represent to you, do you feel there’s a universal message in the myth or story?

T: I liked the image of the half bird, half man Sweeney. He was holding on to his pagan beliefs and this comes through in the tale of his wandering and the encounters he made on this journey.

R: What made you decide on the area at the foot of the cliffs in Cleadale?

T: Originally I planned to place him roosting in a tree but there aren’t many suitable on Eddie and Lucy’s croft. I climbed the hill at the back of the bothy to survey the possibilities and meanwhile sat the sculpture on the rocks there. He fitted perfectly on the stone there and it became his throne…fitting for a king!

R: Can you tell me a little about the process of making him?

T: Well, first I read up on the poem and got a feel for his tale. I made some sketches of him perching. There was a blackbird singing outside the bothy in the mornings and I decided a birds head would work for the sculpture. I welded up a simple steel rod armature and over this wove layers of peeled willow to give it form and movement . I had brought the willow with me and soaked it in the nearby burn to make it pliable. For the head I used some rough green willow to add a striking contrast to the naked white willow torso. Finally I sprayed the willow with linseed oil to give some protection from the Atlantic storms.

Sweeney's bothy, Eigg

Sweeney’s bothy, Eigg

R: What response do you hope viewers have when encountering Sweeney?

T: Well one of surprise and curiosity I hope. The setting is spectacular with the cliffs in front of you and the peaks of Rum behind. I hope they will hear some bird song too.

R: How was your artist’s residency on Eigg, and how did it feel to be back?

T: It was a great couple of weeks for me on Eigg. I had come over early for an island wedding, so much socialising during the first week. Then the bothy became a retreat for me, a haven. The weather was wild at times, gentle on others and Sweeney grew. It is such an amazing place to visit and for me a great opportunity to re-visit and reconnect with the place that I left 24 years ago

R: Can you tell me about any upcoming projects and where can we can see more of your work?

T: I have several sculpture commissions for this summer. I will be making a ‘warhorse’ at Inverewe Garden, Poolewe, in June and on the Wickerman for the music festival in Kirkudbrightshire. I have sculptures at Falkland Palace, Scone Palace, Calagary Sculpture Trail on Mull, Craig Tara in Ayrshire.

You can find out more about Trevor’s work Here.

Below, an excerpt from Sweeney’s poem (as translated by James G. O’Keeffe  -The whole of Buile Suibhne can be read Here)..

I am Suibhne, noble leader, P1090966
cold and joyless is my abode,
though I be to-night on wild peaks,
O woman who pluckest my watercress.

My mead is my cold water,
my kine are my cresses,
my friends are my trees,
though I am without mantle or smock.

From Buile Suibhne (The Frenzy of Suibhne

Seamus Heaney also translated the poem and unfortunately I can’t find a translation online but there are references to it Here

More about Sweeney’s Bothy on Eigg Here