Plastic
Invited Artist Group Show
Stephan-Maria Aust
Margaret Uttley
David Knight
Màiri NicGillìosa
Geoff Stear
Curated by Hulabhaig
Presented at Baile na Cille church 14th August to 31st August 2021 and now online.
The Vestry
Sculpture by Màiri NicGillìosa
Sculpture by Màiri NicGillìosa.
Casts of found objects, plaster, plastic paint, lacquer, bitumen.
“Plastic isn’t bad… it’s like anything – it’s the way we humans use it.” Tom, High Borve.
Walk into a byre, barn, garage or shed around here in the northwest of Lewis and you will see thrifty recycling at play. Crofters can turn their hands to most repairs using a myriad of materials. They encompass self-reliability and, in my experience, share willingly.
They’re menders, fixers, collectors, collaborators.
In this time, in these - our days - plastic is now a material used and seen in the living landscape. It was ever thus that things would be repaired, reused. A local crofter remembers making candles with some sort of animal fat that washed ashore as a child. She melted it and poured it into wee holes bored in the wet sand and dangled string into it while it set.
Sheep lick boxes are useful, multi-use objects. Troughs, broody nests, storage boxes, plant pots, paint pots, they’re (re)used all the time. Their interiors often showing the many horned scrapes from their initial intended purpose.
Things land, they’re used. We become used to their presence.
This installation lays an impermanent layer of human activity onto the land, drawing on the broch ruins of Dun Bhuirgh, or maybe an enclosure echo, a fank that holds the means to direct, to keep out or keep in, to safeguard or signal. A human imprint on the landscape. The casts replicate found objects, grasses, Gneiss rock, crab shells. These natural forms mimicked in plaster or resin, encased with a layer of plastic, bitumen paint and lacquer.
We have come to accept these plastic layers in the landscape around us: a shifting baseline, a gradual change in the accepted norms. I am interested in how plastic offers us a physical way to view this in our landscapes, as markers for less visible changes too, for example those of language, culture and climate.
How we handle change matters now more than ever. Look to the island crofter as a counterpoint to these times, complimenting whilst acting independently to the rhythms of contemporary life.
Enquire Now (opens your email client)
Centre Space
Installation by Màiri NicGillìosa
Plastaig
Installation by Màiri NicGillìosa.
Sheep lick tubs, tarpaulin, church pew, resin, plaster, plastic paint, lacquer, bitumen.
“Plastic isn’t bad… it’s like anything – it’s the way we humans use it.” Tom, High Borve.
Walk into a byre, barn, garage or shed around here in the northwest of Lewis and you will see thrifty recycling at play. Crofters can turn their hands to most repairs using a myriad of materials. They encompass self-reliability and, in my experience, share willingly.
They’re menders, fixers, collectors, collaborators.
In this time, in these - our days - plastic is now a material used and seen in the living landscape. It was ever thus that things would be repaired, reused. A local crofter remembers making candles with some sort of animal fat that washed ashore as a child. She melted it and poured it into wee holes bored in the wet sand and dangled string into it while it set.
Sheep lick boxes are useful, multi-use objects. Troughs, broody nests, storage boxes, plant pots, paint pots, they’re (re)used all the time. Their interiors often showing the many horned scrapes from their initial intended purpose.
Things land, they’re used. We become used to their presence.
This installation lays an impermanent layer of human activity onto the land, drawing on the broch ruins of Dun Bhuirgh, or maybe an enclosure echo, a fank that holds the means to direct, to keep out or keep in, to safeguard or signal. A human imprint on the landscape. The casts replicate found objects, grasses, Gneiss rock, crab shells. These natural forms mimicked in plaster or resin, encased with a layer of plastic, bitumen paint and lacquer.
We have come to accept these plastic layers in the landscape around us: a shifting baseline, a gradual change in the accepted norms. I am interested in how plastic offers us a physical way to view this in our landscapes, as markers for less visible changes too, for example those of language, culture and climate.
How we handle change matters now more than ever. Look to the island crofter as a counterpoint to these times, complimenting whilst acting independently to the rhythms of contemporary life.
Thanks to Tom and Flora, Seonag and Coinneach for the tubs.
Enquire Now (opens your email client)
Untitled by Stephan-Maria Aust
Untitled
Photographic work by Stephan-Maria Aust from his Bonnie Truth series.
Giclée Prints on Hahnemühle Fine Art paper Unframed prices £750.00.
h: 68 w: 47 d: 1 (cms).
10 copies verso signed/numbered/dated.
Nature has been taken over by the waste of mankind – plastic pollution is a threat to the environment.
Photography is Stephan’s language. He uses the camera to address his concerns about plastic in our oceans. Using a special photographical technique, he creates attractive images to stimulate an emotional response.
The pleasant first impression of the foggy photographs taken along the Hebridean shorelines turns into a more worrying view of the plastic rubbish shown.
Finally, he points to the fact that plastic waste has taken possession of nature. It is literally everywhere. Raising awareness for a problem also means not giving up.
Buy Now (opens Hulabhaig Represents website)
Downstairs, West Wall
Untitled by Stephan-Maria Aust
Untitled
Photographic work by Stephan-Maria Aust from his Bonnie Truth series.
Giclée Prints on Hahnemühle Fine Art paper Unframed prices £750.00.
h:47 w:68(cms).
10 copies verso signed/numbered/dated.
Buy Now (opens Hulabhaig Represents website)
Nature has been taken over by the waste of mankind – plastic pollution is a threat to the environment.
Photography is Stephan’s language. He uses the camera to address his concerns about plastic in our oceans. Using a special photographical technique, he creates attractive images to stimulate an emotional response.
The pleasant first impression of the foggy photographs taken along the Hebridean shorelines turns into a more worrying view of the plastic rubbish shown.
Finally, he points to the fact that plastic waste has taken possession of nature. It is literally everywhere. Raising awareness for a problem also means not giving up.
Untitled by Stephan-Maria Aust
Untitled
Photographic work by Stephan-Maria Aust from his Bonnie Truth series.
Giclée Prints on Hahnemühle Fine Art paper Unframed prices £560.00.
h:47 w:47(cms).
10 copies verso signed/numbered/dated.
Nature has been taken over by the waste of mankind – plastic pollution is a threat to the environment.
Photography is Stephan’s language. He uses the camera to address his concerns about plastic in our oceans. Using a special photographical technique, he creates attractive images to stimulate an emotional response.
The pleasant first impression of the foggy photographs taken along the Hebridean shorelines turns into a more worrying view of the plastic rubbish shown.
Finally, he points to the fact that plastic waste has taken possession of nature. It is literally everywhere. Raising awareness for a problem also means not giving up.
Buy Now (opens Hulabhaig Represents website)
Untitled by Stephan-Maria Aust
Untitled
Photographic work by Stephan-Maria Aust from his Bonnie Truth series.
Giclée Prints on Hahnemühle Fine Art paper Unframed prices £750.00.
10 copies verso signed/numbered/dated.
Nature has been taken over by the waste of mankind – plastic pollution is a threat to the environment.
Photography is Stephan’s language. He uses the camera to address his concerns about plastic in our oceans. Using a special photographical technique, he creates attractive images to stimulate an emotional response.
The pleasant first impression of the foggy photographs taken along the Hebridean shorelines turns into a more worrying view of the plastic rubbish shown.
Finally, he points to the fact that plastic waste has taken possession of nature. It is literally everywhere. Raising awareness for a problem also means not giving up.
Enquire Now (opens your email client)
Untitled by Stephan-Maria Aust
Untitled
Photographic work by Stephan-Maria Aust from his Bonnie Truth series.
Giclée Prints on Hahnemühle Fine Art paper Unframed prices £750.00.
10 copies verso signed/numbered/dated.
Nature has been taken over by the waste of mankind – plastic pollution is a threat to the environment.
Photography is Stephan’s language. He uses the camera to address his concerns about plastic in our oceans. Using a special photographical technique, he creates attractive images to stimulate an emotional response.
The pleasant first impression of the foggy photographs taken along the Hebridean shorelines turns into a more worrying view of the plastic rubbish shown.
Finally, he points to the fact that plastic waste has taken possession of nature. It is literally everywhere. Raising awareness for a problem also means not giving up.
Enquire Now (opens your email client)
Downstairs, East Wall
Untitled by Stephan-Maria Aust
Untitled
Photographic work by Stephan-Maria Aust from his Bonnie Truth series.
Giclée Prints on Hahnemühle Fine Art paper Unframed prices £750.00.
10 copies verso signed/numbered/dated.
Enquire Now (opens your email client)
Nature has been taken over by the waste of mankind – plastic pollution is a threat to the environment.
Photography is Stephan’s language. He uses the camera to address his concerns about plastic in our oceans. Using a special photographical technique, he creates attractive images to stimulate an emotional response.
The pleasant first impression of the foggy photographs taken along the Hebridean shorelines turns into a more worrying view of the plastic rubbish shown.
Finally, he points to the fact that plastic waste has taken possession of nature. It is literally everywhere. Raising awareness for a problem also means not giving up.
Untitled by Stephan-Maria Aust
Untitled
Photographic work by Stephan-Maria Aust from his Bonnie Truth series.
Giclée Prints on Hahnemühle Fine Art paper Unframed prices £750.00.
10 copies verso signed/numbered/dated.
Enquire Now (opens your email client)
Nature has been taken over by the waste of mankind – plastic pollution is a threat to the environment.
Photography is Stephan’s language. He uses the camera to address his concerns about plastic in our oceans. Using a special photographical technique, he creates attractive images to stimulate an emotional response.
The pleasant first impression of the foggy photographs taken along the Hebridean shorelines turns into a more worrying view of the plastic rubbish shown.
Finally, he points to the fact that plastic waste has taken possession of nature. It is literally everywhere. Raising awareness for a problem also means not giving up.
Untitled by Stephan-Maria Aust
Untitled
Photographic work by Stephan-Maria Aust from his Bonnie Truth series.
Giclée Prints on Hahnemühle Fine Art paper Unframed prices £750.00.
10 copies verso signed/numbered/dated.
Enquire Now (opens your email client)
Nature has been taken over by the waste of mankind – plastic pollution is a threat to the environment.
Photography is Stephan’s language. He uses the camera to address his concerns about plastic in our oceans. Using a special photographical technique, he creates attractive images to stimulate an emotional response.
The pleasant first impression of the foggy photographs taken along the Hebridean shorelines turns into a more worrying view of the plastic rubbish shown.
Finally, he points to the fact that plastic waste has taken possession of nature. It is literally everywhere. Raising awareness for a problem also means not giving up.
Untitled by Stephan-Maria Aust
Untitled
Photographic work by Stephan-Maria Aust from his Bonnie Truth series.
Giclée Prints on Hahnemühle Fine Art paper Unframed prices £750.00.
10 copies verso signed/numbered/dated.
Enquire Now (opens your email client)
Nature has been taken over by the waste of mankind – plastic pollution is a threat to the environment.
Photography is Stephan’s language. He uses the camera to address his concerns about plastic in our oceans. Using a special photographical technique, he creates attractive images to stimulate an emotional response.
The pleasant first impression of the foggy photographs taken along the Hebridean shorelines turns into a more worrying view of the plastic rubbish shown.
Finally, he points to the fact that plastic waste has taken possession of nature. It is literally everywhere. Raising awareness for a problem also means not giving up.
Untitled by Stephan-Maria Aust
Untitled
Photographic work by Stephan-Maria Aust from his Bonnie Truth series.
Giclée Prints on Hahnemühle Fine Art paper Unframed prices £750.00.
10 copies verso signed/numbered/dated.
Enquire Now (opens your email client)
Nature has been taken over by the waste of mankind – plastic pollution is a threat to the environment.
Photography is Stephan’s language. He uses the camera to address his concerns about plastic in our oceans. Using a special photographical technique, he creates attractive images to stimulate an emotional response.
The pleasant first impression of the foggy photographs taken along the Hebridean shorelines turns into a more worrying view of the plastic rubbish shown.
Finally, he points to the fact that plastic waste has taken possession of nature. It is literally everywhere. Raising awareness for a problem also means not giving up.
Downstairs, Back Area
Net P1 by Geoff Stear
'Net P1'
Acrylic & household paints on watercolour paper
h: 80 w: 61 d: 2 (cms).
Framed £900, Unframed £750.
The effects of plastic debris on the marine environment has proved disastrous. Numerous species of marine life are known to have suffered or indeed been killed by plastic debris, which could ultimately cost their survival, especially since many are already endangered by other forms of anthropogenic activities.
Marine animals are mostly affected through entanglement in and ingestion of plastic litter. Other less known threats include the use of plastic debris by “invader” species and the absorption of polychlorinated biphenyls from ingested plastics.
Tidal currents mean a fair share of such plastic debris ends up washed ashore here on the Western Isles. Sad as this is, and unsightly, the real harm to the ecology of our planet is done by the plastics that remain in the sea.
Nets, discarded or lost at sea by the fishing industry, are responsible for entrapping both plastics and various forms of sea life. Nets as a theme therefor feature in these works of mine.
Buy Now (opens Hulabhaig Represents website)
Net P2 by Geoff Stear
'Net P2'
Acrylic & household paints on watercolour paper
h: 80 w: 61 d: 2 (cms).
Framed £900, Unframed £750.
The effects of plastic debris on the marine environment has proved disastrous. Numerous species of marine life are known to have suffered or indeed been killed by plastic debris, which could ultimately cost their survival, especially since many are already endangered by other forms of anthropogenic activities.
Marine animals are mostly affected through entanglement in and ingestion of plastic litter. Other less known threats include the use of plastic debris by “invader” species and the absorption of polychlorinated biphenyls from ingested plastics.
Tidal currents mean a fair share of such plastic debris ends up washed ashore here on the Western Isles. Sad as this is, and unsightly, the real harm to the ecology of our planet is done by the plastics that remain in the sea.
Nets, discarded or lost at sea by the fishing industry, are responsible for entrapping both plastics and various forms of sea life. Nets as a theme therefor feature in these works of mine.
Buy Now (opens Hulabhaig Represents website)
Sculpture by Màiri NicGillìosa
Sculpture by Màiri NicGillìosa.
Casts of found objects.
“Plastic isn’t bad… it’s like anything – it’s the way we humans use it.” Tom, High Borve.
Walk into a byre, barn, garage or shed around here in the northwest of Lewis and you will see thrifty recycling at play. Crofters can turn their hands to most repairs using a myriad of materials. They encompass self-reliability and, in my experience, share willingly.
They’re menders, fixers, collectors, collaborators.
In this time, in these - our days - plastic is now a material used and seen in the living landscape. It was ever thus that things would be repaired, reused. A local crofter remembers making candles with some sort of animal fat that washed ashore as a child. She melted it and poured it into wee holes bored in the wet sand and dangled string into it while it set.
Sheep lick boxes are useful, multi-use objects. Troughs, broody nests, storage boxes, plant pots, paint pots, they’re (re)used all the time. Their interiors often showing the many horned scrapes from their initial intended purpose.
Things land, they’re used. We become used to their presence.
We have come to accept these plastic layers in the landscape around us: a shifting baseline, a gradual change in the accepted norms. I am interested in how plastic offers us a physical way to view this in our landscapes, as markers for less visible changes too, for example those of language, culture and climate.
How we handle change matters now more than ever. Look to the island crofter as a counterpoint to these times, complimenting whilst acting independently to the rhythms of contemporary life.
Enquire Now (opens your email client)
Upstairs, Landing
Sculpture by Màiri NicGillìosa
Sculpture by Màiri NicGillìosa.
Casts of found objects.
“Plastic isn’t bad… it’s like anything – it’s the way we humans use it.” Tom, High Borve.
Walk into a byre, barn, garage or shed around here in the northwest of Lewis and you will see thrifty recycling at play. Crofters can turn their hands to most repairs using a myriad of materials. They encompass self-reliability and, in my experience, share willingly.
They’re menders, fixers, collectors, collaborators.
In this time, in these - our days - plastic is now a material used and seen in the living landscape. It was ever thus that things would be repaired, reused. A local crofter remembers making candles with some sort of animal fat that washed ashore as a child. She melted it and poured it into wee holes bored in the wet sand and dangled string into it while it set.
Sheep lick boxes are useful, multi-use objects. Troughs, broody nests, storage boxes, plant pots, paint pots, they’re (re)used all the time. Their interiors often showing the many horned scrapes from their initial intended purpose.
Things land, they’re used. We become used to their presence.
We have come to accept these plastic layers in the landscape around us: a shifting baseline, a gradual change in the accepted norms. I am interested in how plastic offers us a physical way to view this in our landscapes, as markers for less visible changes too, for example those of language, culture and climate.
How we handle change matters now more than ever. Look to the island crofter as a counterpoint to these times, complimenting whilst acting independently to the rhythms of contemporary life.
Enquire Now (opens your email client)
Upstairs, Centre Gallery
Island Home by David Knight
Island Home
h: 72 w: 86 d: 5 (cms).
Acrylic, Paper, Wood, Plastic.
£700
The collage/construction pieces produced for the ‘Plastic’ exhibition all incorporate objects found on the beach at Cliff. The beautifully formed pieces of driftwood washed up on the beach are a wonderful find and are great to use in the garden, sadly though, amongst the driftwood, more and more plastic is also appearing. Whilst the constructions aim to highlight the increasing abundance of plastic starting to pollute the sea and our beaches they also aim to work on a purely aesthetic/abstract level, in terms of colour, surface, structure, edges and space. The strong plastic colours help create powerful spatial contrasts, and the layers of richly painted wood form strong coastal landscape associations. Elements such as an old shoe inner sole suggests mans ‘footprint’ and unnatural influence on the balance of nature.
Buy Now (opens Hulabhaig Represents website)
Boat Collage by David Knight
Boat Collage
h: 134 w: 90 d: 5 (cms).
Acrylic, Paper, Wood, Plastic.
£900
The collage/construction pieces produced for the ‘Plastic’ exhibition all incorporate objects found on the beach at Cliff. The beautifully formed pieces of driftwood washed up on the beach are a wonderful find and are great to use in the garden, sadly though, amongst the driftwood, more and more plastic is also appearing. Whilst the constructions aim to highlight the increasing abundance of plastic starting to pollute the sea and our beaches they also aim to work on a purely aesthetic/abstract level, in terms of colour, surface, structure, edges and space. The strong plastic colours help create powerful spatial contrasts, and the layers of richly painted wood form strong coastal landscape associations. Elements such as an old shoe inner sole suggests mans ‘footprint’ and unnatural influence on the balance of nature.
Buy Now (opens Hulabhaig Represents website)
Marine Polution by David Knight
Marine Polution
h: 114 w: 72 d: 5 (cms).
Acrylic, Paper, Wood, Plastic.
£900
The collage/construction pieces produced for the ‘Plastic’ exhibition all incorporate objects found on the beach at Cliff. The beautifully formed pieces of driftwood washed up on the beach are a wonderful find and are great to use in the garden, sadly though, amongst the driftwood, more and more plastic is also appearing. Whilst the constructions aim to highlight the increasing abundance of plastic starting to pollute the sea and our beaches they also aim to work on a purely aesthetic/abstract level, in terms of colour, surface, structure, edges and space. The strong plastic colours help create powerful spatial contrasts, and the layers of richly painted wood form strong coastal landscape associations. Elements such as an old shoe inner sole suggests mans ‘footprint’ and unnatural influence on the balance of nature.
Buy Now (opens Hulabhaig Represents website)
Tide Line by David Knight
Tide Line
h: 122 w: 115 d: 19 (cms).
Acrylic, Paper, Wood, Plastic.
£900
The collage/construction pieces produced for the ‘Plastic’ exhibition all incorporate objects found on the beach at Cliff. The beautifully formed pieces of driftwood washed up on the beach are a wonderful find and are great to use in the garden, sadly though, amongst the driftwood, more and more plastic is also appearing. Whilst the constructions aim to highlight the increasing abundance of plastic starting to pollute the sea and our beaches they also aim to work on a purely aesthetic/abstract level, in terms of colour, surface, structure, edges and space. The strong plastic colours help create powerful spatial contrasts, and the layers of richly painted wood form strong coastal landscape associations. Elements such as an old shoe inner sole suggests mans ‘footprint’ and unnatural influence on the balance of nature.
Buy Now (opens Hulabhaig Represents website)
Untitled by Stephan-Maria Aust
Untitled
Photographic work by Stephan-Maria Aust from his Bonnie Truth series.
Giclée Prints on Hahnemühle Fine Art paper Unframed prices £750.00.
h:68 w:47 (cms).
10 copies verso signed/numbered/dated.
Nature has been taken over by the waste of mankind – plastic pollution is a threat to the environment.
Photography is Stephan’s language. He uses the camera to address his concerns about plastic in our oceans. Using a special photographical technique, he creates attractive images to stimulate an emotional response.
The pleasant first impression of the foggy photographs taken along the Hebridean shorelines turns into a more worrying view of the plastic rubbish shown.
Finally, he points to the fact that plastic waste has taken possession of nature. It is literally everywhere. Raising awareness for a problem also means not giving up.
Enquire Now (opens your email client)
Untitled by Stephan-Maria Aust
Untitled
Photographic work by Stephan-Maria Aust from his Bonnie Truth series.
Giclée Prints on Hahnemühle Fine Art paper Unframed prices £750.00.
h:68 w:47 (cms).
10 copies verso signed/numbered/dated.
Nature has been taken over by the waste of mankind – plastic pollution is a threat to the environment.
Photography is Stephan’s language. He uses the camera to address his concerns about plastic in our oceans. Using a special photographical technique, he creates attractive images to stimulate an emotional response.
The pleasant first impression of the foggy photographs taken along the Hebridean shorelines turns into a more worrying view of the plastic rubbish shown.
Finally, he points to the fact that plastic waste has taken possession of nature. It is literally everywhere. Raising awareness for a problem also means not giving up.
Buy Now (opens Hulabhaig Represents website)
Sculpture by Màiri NicGillìosa
Sculpture by Màiri NicGillìosa.
Casts of found objects.
“Plastic isn’t bad… it’s like anything – it’s the way we humans use it.” Tom, High Borve.
Walk into a byre, barn, garage or shed around here in the northwest of Lewis and you will see thrifty recycling at play. Crofters can turn their hands to most repairs using a myriad of materials. They encompass self-reliability and, in my experience, share willingly.
They’re menders, fixers, collectors, collaborators.
In this time, in these - our days - plastic is now a material used and seen in the living landscape. It was ever thus that things would be repaired, reused. A local crofter remembers making candles with some sort of animal fat that washed ashore as a child. She melted it and poured it into wee holes bored in the wet sand and dangled string into it while it set.
Sheep lick boxes are useful, multi-use objects. Troughs, broody nests, storage boxes, plant pots, paint pots, they’re (re)used all the time. Their interiors often showing the many horned scrapes from their initial intended purpose.
Things land, they’re used. We become used to their presence.
We have come to accept these plastic layers in the landscape around us: a shifting baseline, a gradual change in the accepted norms. I am interested in how plastic offers us a physical way to view this in our landscapes, as markers for less visible changes too, for example those of language, culture and climate.
How we handle change matters now more than ever. Look to the island crofter as a counterpoint to these times, complimenting whilst acting independently to the rhythms of contemporary life.
Enquire Now (opens your email client)
Sculpture by Màiri NicGillìosa
Sculpture by Màiri NicGillìosa.
Casts of found objects.
“Plastic isn’t bad… it’s like anything – it’s the way we humans use it.” Tom, High Borve.
Walk into a byre, barn, garage or shed around here in the northwest of Lewis and you will see thrifty recycling at play. Crofters can turn their hands to most repairs using a myriad of materials. They encompass self-reliability and, in my experience, share willingly.
They’re menders, fixers, collectors, collaborators.
In this time, in these - our days - plastic is now a material used and seen in the living landscape. It was ever thus that things would be repaired, reused. A local crofter remembers making candles with some sort of animal fat that washed ashore as a child. She melted it and poured it into wee holes bored in the wet sand and dangled string into it while it set.
Sheep lick boxes are useful, multi-use objects. Troughs, broody nests, storage boxes, plant pots, paint pots, they’re (re)used all the time. Their interiors often showing the many horned scrapes from their initial intended purpose.
Things land, they’re used. We become used to their presence.
We have come to accept these plastic layers in the landscape around us: a shifting baseline, a gradual change in the accepted norms. I am interested in how plastic offers us a physical way to view this in our landscapes, as markers for less visible changes too, for example those of language, culture and climate.
How we handle change matters now more than ever. Look to the island crofter as a counterpoint to these times, complimenting whilst acting independently to the rhythms of contemporary life.
Enquire Now (opens your email client)
Upstairs, East Gallery
Net P3 by Geoff Stear
'Net P3'
Acrylic & household paints on watercolour paper
h: 80 w: 61 d: 1 (cms).
Framed £900, Unframed £750.
The effects of plastic debris on the marine environment has proved disastrous. Numerous species of marine life are known to have suffered or indeed been killed by plastic debris, which could ultimately cost their survival, especially since many are already endangered by other forms of anthropogenic activities.
Marine animals are mostly affected through entanglement in and ingestion of plastic litter. Other less known threats include the use of plastic debris by “invader” species and the absorption of polychlorinated biphenyls from ingested plastics.
Tidal currents mean a fair share of such plastic debris ends up washed ashore here on the Western Isles. Sad as this is, and unsightly, the real harm to the ecology of our planet is done by the plastics that remain in the sea.
Nets, discarded or lost at sea by the fishing industry, are responsible for entrapping both plastics and various forms of sea life. Nets as a theme therefor feature in these works of mine.
Buy Now (opens Hulabhaig Represents website)
Net C1 by Geoff Stear
'Net'
Acrylic on Canvas
h: 100 w: 100 d: 2 (cms).
Including Net £999.00.
The effects of plastic debris on the marine environment has proved disastrous. Numerous species of marine life are known to have suffered or indeed been killed by plastic debris, which could ultimately cost their survival, especially since many are already endangered by other forms of anthropogenic activities.
Marine animals are mostly affected through entanglement in and ingestion of plastic litter. Other less known threats include the use of plastic debris by “invader” species and the absorption of polychlorinated biphenyls from ingested plastics.
Tidal currents mean a fair share of such plastic debris ends up washed ashore here on the Western Isles. Sad as this is, and unsightly, the real harm to the ecology of our planet is done by the plastics that remain in the sea.
Nets, discarded or lost at sea by the fishing industry, are responsible for entrapping both plastics and various forms of sea life. Nets as a theme therefor feature in these works of mine.
Enquire Now (opens your email client)
Net P4 by Geoff Stear
'Net P4'
Acrylic & household paints on watercolour paper
h: 80 w: 61 d: 2 (cms).
Framed £900, Unframed £750.
The effects of plastic debris on the marine environment has proved disastrous. Numerous species of marine life are known to have suffered or indeed been killed by plastic debris, which could ultimately cost their survival, especially since many are already endangered by other forms of anthropogenic activities.
Marine animals are mostly affected through entanglement in and ingestion of plastic litter. Other less known threats include the use of plastic debris by “invader” species and the absorption of polychlorinated biphenyls from ingested plastics.
Tidal currents mean a fair share of such plastic debris ends up washed ashore here on the Western Isles. Sad as this is, and unsightly, the real harm to the ecology of our planet is done by the plastics that remain in the sea.
Nets, discarded or lost at sea by the fishing industry, are responsible for entrapping both plastics and various forms of sea life. Nets as a theme therefor feature in these works of mine.
Buy Now (opens Hulabhaig Represents website)
Upstairs, West Gallery
Untitled by Stephan-Maria Aust
Untitled
Photographic work by Stephan-Maria Aust from his Bonnie Truth series.
Giclée Prints on Hahnemühle Fine Art paper Unframed prices £750.00.
h:47 w:68 (cms).
10 copies verso signed/numbered/dated.
1 Edition Sold, 9 available.
Buy Now (opens Hulabhaig Represents website)
Nature has been taken over by the waste of mankind – plastic pollution is a threat to the environment.
Photography is Stephan’s language. He uses the camera to address his concerns about plastic in our oceans. Using a special photographical technique, he creates attractive images to stimulate an emotional response.
The pleasant first impression of the foggy photographs taken along the Hebridean shorelines turns into a more worrying view of the plastic rubbish shown.
Finally, he points to the fact that plastic waste has taken possession of nature. It is literally everywhere. Raising awareness for a problem also means not giving up.
Fin - cradled by the rocks by Margaret Uttley
Fin - Cradled By The Rocks
Charcoal & Graphite on Paper
h: 114 w: 114 (cms).
On mothers day we were saddened to discover this 50ft Fin Whale washed up on Cliff Beach. Due to COVID restrictions a post mortum could not be carried out to establish the cause of death. It is thought that the whale died out at sea, possibly from a virus or natural causes, maybe with some elements of consumed plastics in his system.
The rocks supported the huge body of this magnificent mammal, sympathetically cradling its remains. The throats grooves were gathered and folding like a striped piece of linen and part of the baleen sack was floating free of its bashed mouth and broken jaw.
Each year 100,000 marine mammals, whales, dolphins, porpoises, seals and sea lions globally die a result of plastic pollution, often from waste equipment of the fishing industry.
Artwork Sold
Untitled by Stephan-Maria Aust
Untitled
Photographic work by Stephan-Maria Aust from his Bonnie Truth series.
Giclée Prints on Hahnemühle Fine Art paper Unframed prices £750.00.
10 copies verso signed/numbered/dated.
Buy Now (opens Hulabhaig Represents website)
Nature has been taken over by the waste of mankind – plastic pollution is a threat to the environment.
Photography is Stephan’s language. He uses the camera to address his concerns about plastic in our oceans. Using a special photographical technique, he creates attractive images to stimulate an emotional response.
The pleasant first impression of the foggy photographs taken along the Hebridean shorelines turns into a more worrying view of the plastic rubbish shown.
Finally, he points to the fact that plastic waste has taken possession of nature. It is literally everywhere. Raising awareness for a problem also means not giving up.
Stephan-Maria Aust
Stephan-Maria Aust
Statement
I learned to use my cameras as a tool in advertising, and whatever I aimed my camera at, it had to look beautiful, whether it was or not. Having been trained to use large format and medium format cameras mostly loaded with transparency film or black and white film photography is my language. I use the camera to address my concerns or show my point of view.
Since I came from the beauty side of advertising photography, what I do meanwhile doesn't have to be pretty, in fact sometime it helps if it isn't.
BiographyStephan-Maria Aust lives on the Isle of Harris. As a photographer he aims for capturing scenes that remain unseen in everyday life.
He has exhibited in national and international solo and group shows including: Taigh Chearsabhagh Museum and Arts Centre (2019) Scotland · North Lands Creative (2018/19) Scotland · Photoweekend Düsseldorf (2018) Germany · Duff House Banff (2018) Scotland · DIE GROSSE Museum Kunstpalast Düsseldorf (2017) Germany · 'watchout' Kiel (2017) Germany · StAnza St Andrews (2016) Scotland · Athens Photo Festival (2016) Greece · Les Rencontres de la Photography Arles (2016) France · Feira do Livro de Fotografia, Lisboa (2016) Potugal · urbEXPO Bochum (2016) Germany · Landtag NRW Düsseldorf Germany · SITTart Galerie Düsseldorf Germany · 17. Große Kunstausstellung Gerresheim Germany · Ravensberger Spinnerei Bielefeld Germany · Merchant City Festival Glasgow Scotland · Mid Wales Art Center Caersws Wales · Gas Gallery/Oriel Nwy Aberystwyth Wales · Rhondda Heritage Park Gallery Wales · Paderborner Fototage Germany
Margaret Uttley
Margaret Uttley
Statement
Margaret grew up in the town of Todmorden, West Yorkshire. Her childhood was heavily influenced by the wide-open spaces of the moorlands; oppressively soot stained, sand stone granite on the steep craggy slopes of the Calder Valley. Whilst studying an Art Foundation Course at Percival Whitley College, Halifax, she met David Knight whom she later married after completing her Fine Art Degree at Bristol Polytechnic in 1987.
Whilst living and working in the Yorkshire Dales, the conservation of the peat moorlands and fens became an underlying purpose to her work. Responding to the rich surfaces, textures and relationships between the immense ranges of living layers amongst the hard structures of the rigid limestone. With thought and time, the modest, immense sensitivity and dexterity of charcoal and graphite on paper, allowed her to communicate the importance for conserving these special places. In 2015 she had an Arts Council supported exhibition ‘Mor’ which toured to Dean Clough, Halifax, West Yorkshire, Gallery Oldham, Lancashire and Gavagan Art, Settle, North Yorkshire. Margaret gained permission from the Ted Hughes estate to use sections from his poem ‘Grouse-Butts’ from the ‘Remains of Elmet’, and structured ‘Mor’ to echo the sentiment and phrases of this poem written in 1978, which are still relevant today.
70% of the worlds upland peat moors are in the UK. Since the early 1900’s, these unique and valuable habitats have been suffering from farmland demands, overgrazing, moor gripping (drainage) fertilising and industrial pollution. In England only 4% of uplands remain in good ecological condition. Restoration and conservation will ensure they continue to provide essential ecosystems services, such as clean drinking water, carbon sinks to help combat climate change, prevent lower level flooding in towns and villages, and provide homes for nature.
David and Margaret began to visit the Isle of Lewis in the Outer Hebrides five years ago, when Margaret was researching for the ‘Mor’ exhibition. Looking at how different communities respond to the moorlands and what peat means to their communities. In England it is illegal to farm peat whereas in Scotland and Ireland it is still used for fuel and flavoring the hops for certain whisky distilleries. Without the heat that peat has provided for generations and the heather providing roofing shelter for homes, remote communities would have struggled to develop and sustain.
BiographySOLO EXHIBITIONS
2017 Traces of the Fen, Gavagan Art, Settle, North Yorkshire. 2016 The Fragile Moorland, Gavagan Art, Settle, North Yorkshire. 2016 ‘Mor’, Gallery Oldham, Oldham, Lancashire. 2015 ‘Mor’, Crossley Gallery, Dean Clough, Halifax, West Yorkshire.
JOINT EXHIBITIONS
2020 Fresh Observations, Studio Vault, Settle, North Yorkshire. 2019 Resipole Studios, Acharacle, Scotland. Morven Gallery, Isle of Lewis, Outer Hebrides, Scotland. 2018 Trinity Buoy Wharf Drawing Prize 2018 (formerly The Jerwood) London. Annual tour dates planned. 8th September - 6th October. Edge of Sight, Gavagan Art, Settle, North Yorkshire. Edge of Sight, An Lanntair Arts Centre, Stornoway, Isle of Lewis, Scotland. Morven Gallery, Isle of Lewis, Outer Hebrides, Scotland. 2017 Studio Vault, Settle, North Yorkshire. 2016 Studio Vault, Settle, North Yorkshire. 2015 Walker Contemporary Art Gallery, Harrogate. 2014 Linton Court, Settle, North Yorkshire. 2013 The Lime Gallery.The Courtyard, Settle, North Yorkshire. 2012 The Stewards Gallery, Clitheroe Castle, Lancashire. The Lime Gallery, The Courtyard, Settle, North Yorkshire. Linton Court, Settle, North Yorkshire. 2011 Discerning Eye, The Mall Galleries, London. Linton Court Gallery, Settle, North Yorkshire. 2010-09-08 Art at Hellifield Peel North Yorkshire. Margaret exhibited in and curated a ‘pop up’ exhibition. a year at Hellifield Peel Castle. The Peel was featured on Chanel 4’s Grand Designs and won their award for 2007. Her drawing of the Peel is shown in the graphics at the start of the programme. 2008 The Lund Gallery, Easingwold, North Yorkshire. 2007-06-05-04-03 The Spiral Gallery, Settle, North Yorkshire. 2003 Margaret opened the Spiral Gallery were she exhibited contemporary paintings, studio ceramics, sculpture and jewellery. All of which was produced in Britain. She closed the gallery in 2007 wanting to focus on her own work. 2004 Pendle Heritage Centre, Barrowford, Lancashire. 2001-02 Godfrey & Watt, Harrogate, North Yorkshire. 2000 Smith Art Gallery, Brighouse, West Yorkshire. 1999 Leeds City Art Gallery. 1998 Linton Court Gallery, Settle, North Yorkshire. 1997 Felsted Studio, Essex. The Boothe House Gallery, Holmfirth, West Yorkshire. 1996-95 Hayfield Gallery, Stockport. 1994-93 Arts Festival, Felsted Essex. 1991 Godfrey & Watt, Harrogate, North Yorkshire. 1989-88 The Ladygate Gallery, Beverley, East Yorkshire. Christs Hospital Arts Centre, Horsham, West Sussex. 1987 The Eye Gallery, Bristol, Avon.
David Knight
David Knight
StatementWhilst the paintings and drawings are essentially abstract in nature there has always been a sense of the landscape underpinning the content and subject matter. Born in Halifax I spent a lot of time walking and drawing the open and sweeping West Riding moorland.
The American Abstract Expressionist painters, particularly a Willem de Kooning retrospective exhibition seen in New York, whilst on a student exchange scheme during my fine art degree, have had a strong liberating influence on my approach towards painting. Alongside painting I have always enjoyed teaching. My first teaching post, in 1985, stemmed from a residency at Christ’s Hospital School, West Sussex. Learning directly from practicing artists is one of the best forms of teaching and, in the two schools I have been head of department, I have always continued to offer an art residency post.
Over recent years the paintings have been heavily influenced by trips to the Isle of Lewis. A large body of this work was exhibited in 2018 at the An Lanntair Arts Centre, Stornoway. A smaller version of this show subsequently travelled to Gavagan Art, Settle, North Yorkshire and Resipole Gallery, Argyll.
In 2019 my partner, Margaret Uttley, and I developed Cliff Studio, Uig, Isle of Lewis, where we now paint full time. The effect of water and weather on the landscape, colour, light, movement of the sea, and the interplay of land, sea and sky are all elements continued within the paintings.
Biography
EDUCATION
1980-82 The Percival Whitley College, Halifax West Yorkshire, Art Foundation. 1982–85 Loughborough College, Fine Art BA. 1984 Student exchange, Virginia Commonwealth University, Richmond Virginia, USA. Jan – April. Toured New York, Washington DC galleries. Willem de Kooning retrospective.
TEACHING
1985 -87 Artist in Residence, Christ’s Hospital School, West Sussex. 1987–90 Principal tutor painting and drawing, Christ’s Hospital School. 1990-94 Painting and printmaking teacher, Felsted School, Essex. 1994-97 Head of Art, Felsted School, Essex. 1997 - Head of Art Giggleswick School, North Yorkshire.
EXHIBITIONS
1986 Northern Young Contempories, Whitworth Gallery, Manchester. 1986 Seven Artist’s, Christ’s Hospital, Horsham, West Sussex. 1986 Four Man Show, The Julius Gottlieb Gallery, Carmel College, Oxford. 1988 The Young Professionals, Kimberlin Gallery, Leicester Polytechnic. 1989 Three Man Show, Christ’s Hospital, Horsham, West Sussex. 1990 Joint Show, Felsted, Essex. 1992 Oxford Art Week, The Julius Gottlieb Gallery, Carmel College, Oxford. 50 Spiral Screen Prints. 1992 Jointly organised with the Redfern Gallery and Angela Flowers Gallery, London, exhibition of Alan Davie, Albert Irvin and John Hoyland. 1993 Redbridge Arts Festival, London. 1995 Exhibited paintings with John Walker and Howard Hodgkin, Felsted. 1998 Giggleswick, North Yorkshire. 2002 Giggleswick, North Yorkshire. 2003 Open The Spiral Gallery, Settle, North Yorkshire. Organise four mixed shows each year. Until 2008. 2005 Pendle Heritage Centre, Barrowford, Lancashire. 2008 Hellifield Peel Castle, North Yorkshire. 2009 Hellifield Peel Castle, North Yorkshire. 2010 Hellifield Peel Castle, North Yorkshire. 2012 Giggleswick, North Yorkshire. 2013 Linton Court Gallery, Settle, North Yorkshire, with Albert Irvin. 2014–15 Helped organise ‘Mor’ jointly with Margaret Uttley. 2015 Unity in Variety, Gabriel Fine Art, Waterloo, London. 2015 Elements, Gabriel Fine Art, Waterloo, London. 2015 Gavagan Art, Settle, North Yorkshire, Isle of Lewis work. 2016 Studio Vault, Settle, North Yorkshire. 2016 Gavagan Art, Settle, North Yorkshire, Isle of Lewis work.
Màiri NicGillìosa
Màiri NicGillìosa
Statement
Màiri is a Gaelic visual artist. In Màiri's arts practice Gàidhlig forms a key part of the aperture through which she experiences the world. Màiri is interested in the overlapping layers through time of peoples, language, material cultures, relationships with the environment and how these connect and relate to one another.
"My creative practice is research-led and informed by these multi-faceted relationships as I seek to create a ‘sense of place’. I draw on wide-ranging research practices including oral interaction with present-day tradition bearers. I enjoy the physicality of working with materials to create new pathways of meaning. This may play out in ‘live’ textural casting off of Lewisian Gneiss, or painting with spring water from Tobar Brìghde’s healing well. I have explored patinating work with peat ash carbon pigmentation using lead off the neighbour’s roof smelted into sugar kelp… I seek to present work that becomes something new in the present, imbued with the past."
Biography2020 – present – Artist residency in the community. Funding secured from Bord na Ghaidhlig (Year of Coasts and Waters) to build a ‘model for learning’ through Gaelic Arts in the Community, West Lewis.
2020 – commissioned to take part in An Lanntair’s ‘Ainm Aite’ Gaelic Placename Project, for Borve, High Borve and Mealbost.
2019 – present - Teaching Art Practitioner for An Lanntair arts Centre, producing interpretation for Gallery Packs, teaching an adult education courses (including creative journaling, Gaelic Month and as part of their Dark Skies Festivals).
2019 Sessional artist for Comunn nan Gàidhlig in Ard Sgoil MhicNeacail, Gaelic unit.
2018 July - Sessional arts educator for Ceòlas (Eriskay and South Uist)
2018 September – present – enrolled as part time postgraduate for master’s degree (MA) Learning and Teaching in Gaelic Arts, Royal Conservatoire Scotland
2017-2018 - Specialist grower for Pyrus Botanicals (Botanical Installation Artists)
2013- 2018 - Development Officer for Scotland, Royal Horticultural Society (Community Outreach team)
2007 - 2010 John Hope Gateway Exhibitions Curator, Royal Botanic Garden Edinburgh
2005 -2007 Research Horticulturist in Indoor Living Collections at Royal Botanic Garden Edinburgh.
2004-2005 - Studied HNC in Horticulture with Plantsmanship (Scottish Agricultural College (now SRUC) and RBGE)
2000-2004 - Studied Honours degree in Sculpture (B/A Hons) at Edinburgh College of Art.
Geoff Stear
Geoff Stear
Statement“When you dwell on an island, you stand on the land but look to the sea. The sea is fluid. The land is solid. Sometimes they meet. In paint I speak of contrasts and ambiguities: soft or sharp, defined or vague, infront or behind, grounded or afloat. Never quite certain or fixed.” Geoff Stear 2018.
If it's necessary to categorise, Geoff Stear would consider himself to be an ‘Abstract Artist’. The surrounding landscape has more than once been a strong influence on his work and on occasions may even be recognisable as such, though he prefers the more ambiguous, atmospheric and non realistic imagery to predominate. The half hidden feel of place or rather an emergence from the void (or paper/canvas!) of a created world influenced by observation or thought processes from the environment around him. Though for him, thinking of his work for its predominantly ‘abstract’ qualities does not mean that recognisable imagery may not sometimes creep in. Needless to say having moved to the Western Isles the landscape and culture of island living has had a massive influence on his work. The wild and extremes of land and sea, of weather and the rapid changes – the coming together of things, the separation, the blending and hiding, the ambiguity and mystery, all play a part in this new body of work.
BiographyGEOFF STEAR has studied fine art at the Regional College of Art, Bradford, the College of Art & Design in Birmingham and St. Martin's School or Art in London. He has exhibited extensively including at, Young Contemporaries, Northern Young Contemporaries, Sunshine Show, RBSA Galleries, Birmingham, Big Paintings For Public Places, Royal Academy of Arts, London & also featured in the BBC TV Arts (1969), the John Moores Exhibition, Liverpool and in 2004 had his first one man show at ‘Loft’ , Leamington Spa. Working as an assistant at the Whitechapel Art Gallery, London, he gained experience and knowledge, and in some respects, has been influenced by UK and USA artists such as Raushenberg, Hoyland, Walker, Lee Krasner and King. He has lectured at the College of Art & Design, Birmingham (1976-1978, 1984-2005), Salisbury Art College and Bournemouth Art College (1977). In 1977 he set-up and managed 'Room Twenty Three' A Birmingham Design Studio.
More recently and since moving to Scalpay, a small island connected by bridge to the Isle of Harris in the Outer Hebrides Geoff has devoted his life to painting and fine art and has exhibited in many solo and group shows including: An Tuireann, Portree, the Isle of Skye, The Royal Hotel, Portree, the Isle of Skye, Solo show The Hebridean Series at Within the Domestic Gallery, Leamington Spa 2009, Grinneas nan Eilean (2005-2017), Solo Exhibition of my ‘Float’ print series at Gallery Frøyaog Sommeracadamiet, Kalvåg, Bremenger, Norway (2016), Solo Exhibition of residency work and prints at Svelgen Omsorgssenter, Bremenger, Norway (2016), iNORGE I, solo exhibition at An Lanntair, Stornoway Norwegian residency work (2016), iNORGE II, solo exhibition at An Lanntair, Stornoway studio work (2017), Talla na Mara, West Harris, solo exhibition (2017) and Hebridean Lights, Group show, Country Frames Gallery, Insch, Aberdeenshire (2017).
Commissions include: 'Building our Islands Project', digital artwork projected onto the front of the building Girnal at Rodel, Harris (2017), 'Hebrides International Film Festival', digital artwork for programs and promotional posters (2016-2017) and 'Harris Arts Festival and Carnival', design work for PR material (2018).