VACMA 21/22 Artist
‘Leabaidh Rìoghail do Chalum Chille’, an Installation work produced on Iona by Alicia Hendrick. VACMA supported the development of themes and ideas created during the Colmiclle Legacy Awards and Alicia’s residency on Iona researching the life of Colmcille.
'I had an overwhelming urge to fill Cobhain Cuildich with Heather and create a bed for Colmcille, whilst drawing The Hermit’s Cell sitting a loft on a hillside of Heather, as part of my Colmcille Legacy Residency in 2021.
I had been spending a lot of time at Cladh an Diseirt where Columba’s Pillow was unearthed and visited the stone to make a drawing. I contacted the Crofter who owns the land where the Hermit’s Cell lies and got permission to make a temporary installation. It took 15 hrs over two days in sunshine and rain to complete. As I lay on the Heather bed the scent was overwhelming. I like the idea that folk can spontaneously come across this work… "It rests there, as if it’s always been there, like a welcome return" Mhairi Killin.' Alicia Hendrick.
Image: Leabaidh Rìoghail do Chalum Chille, A Royal Bed For Colmcille, Cobhan Cùildeach (Secluded Hollow), Iona. Temporary Installation Of Heather On The First Day Of Autumn At What Is Known As The Hermit’s Cell by Alicia Hendrick. Drone Image Thanks To Gordon Bruce. Thanks To Margaret MacDonald, Alasdair Whyte, Jane Brunton, Jane Griffiths and Mhairi Killin. Thanks To Support From VACMA fund And To CHARTS.
Supporting curator Naoko Mabon to listen and respond to often invisible and historically underrepresented voices and issues of specific localities by enrolling on a beginners course for Gàidhlig by Sabhal Mòr Ostaig, University of the Highlands and Islands.
'I am incredibly grateful for this VACMA support through CHARTS which made my enrolment in a proper yet flexible Gàidhlig learning possible. An Cùrsa Inntrigidh, a supported distance learning Gaelic course for beginners by Sabhal Mòr Ostaig, University of the Highlands and Islands, is an ideal learning opportunity and framework for people like me - it is designed as part-time and remote learning, with a weekly tutorial session which can be scheduled outside of the working hours. This will certainly change how I create curated projects in Oban, and I am very much looking forward to studying the course.' Naoko Mabon.
Image: Naoko Mabon. Credit Abby Beatrice Quick.
‘Harris Tweed Selvedge’, a research project by Pieter van der Werf / Studio Orains looking into new applications for tweed offcuts.
'Harris Tweed Selvedge is a by-product of the weaving industry, typically ending up as rags. This research project involves deconstructing and reconstructing tweed waste and using it in newly
created fabrics. As the woven offcuts have not been waulked; it will lend itself to felting and hot wash processes. During the first stage of the research and thereafter woolen tweed materials are incorporated into wall art created by Studio Orains. Currently, a new process has been identified to create specific fabric materials which could be used in fabrics for fashion too. The research project is ongoing and results are published periodically.' Pietre van der Werf.
To follow Pieter’s Harris Tweed Selvedge Journey visit Orians.com.
Image: Research Project: Harris Tweed Selvedge. Credit, Pieter Van Der Werf.
Developing and creating Artist books and prints, through experimental processes of pigment extraction and soil chromatography, Val O’Regen.
'My practice is inspired by the natural environment, exploring the conceptual and material interpretation of landscapes. My intention is to characterise and articulate the experience of ‘place’ in moments of time, gathering visual traces both physical and experiential.
With VACMA funding 21/22 I have developed a series of artist's books and a portfolio of mixed media intaglio and relief prints that I have exhibited nationally and internationally and will continue to show later in the year. My prints and artist's books are inspired by moments in time observing, collecting and cataloguing on site (the four-mile coastline from Innellan pier to Ardyne) before making and resolving the work back in my studio. These new works are an interpretation of the organic and inorganic happenings, irregular patterns of geological and social history and raw, found colours that inhabit and mark the environment. The process of gathering and correlating these visual responses of my chosen sites of investigation has been enhanced by research into processes, making new connections with other artists who share similar areas of inquiry and participating in workshops on pigment extraction and soil chromatography.' Val O'Regan.
Image: Crossing The Water’s Edge, Artist Book, 46 Prints, Accordion fold, Cyanotype Prints, Toned With Natural Pigments. Credit, Valerie O’Regan.