Drawn To The Land – Perth Museum and Art Gallery

Sophie was commissioned by Perth Museum and Art Gallery to continue her long term project Drawn To The Land, the resulting work is currently being exhibited at the gallery until the end of October.

Anna MacKinnon rolling fleeces at Amulree, Perthshire. June 2019

Anna MacKinnon rolling fleeces at Amulree, Perthshire. June 2019. From the series Drawn To The Land.  Image © Sophie Gerrard 2019 all rights reserved.

 

Laighwood, Perthshire, May 2019

Laighwood, Perthshire, May 2019. From the series Drawn To The Land.  Image © Sophie Gerrard 2019 all rights reserved.

 

Lucy gathering ewes, Foswell, Auchterarder, Perthshire, June 2019. From the series Drawn To The Land.  Image © Sophie Gerrard 2019 all rights reserved.

 

Mary, Connachan, Perthshire, April 2019.

Mary, Connachan, Perthshire, April 2019. From the series Drawn To The Land.  Image © Sophie Gerrard 2019 all rights reserved.

Drawn To The Land continues to be a fascinating journey for me. For this chapter it took me to Perthshire, where I also worked with Perth Museums’ photographic archive, following the journey of John Watt who documented Laighwood, a hill farm near Dunkeld, in the late 50s. I returned to that farm and met and photographed Elizabeth, who features in some of Watt’s earlier images. I also continued to work with Mary, a farmer who featured early in Drawn To the Land, revisiting her and continuing her story. Anna and Lucy are in their 20s and work as contract shepherds in Perthshire, their lives are an important new addition, giving alternative perspectives and a fresh approach to a traditional farming way of life.

The exhibition includes images made earlier in the project, around 2015, these new works and archive images from John Watt’s collection made at Laighwood and other locations in Perthshire from 1959 – 1961.

 

Shepherd moving blackface sheep at Laighwood, Butterstone, Perthshire. Image by John Watt between 1959 and 1961, © Perth Museum and Art Gallery archive.

Shepherd moving blackface sheep at Laighwood, Butterstone, Perthshire. Image by John Watt between 1959 and 1961, © Perth Museum and Art Gallery archive.

 

Elizabeth Bruges, Perthshire Highland Show. Image by John Watt between 1959 and 1961, © Perth Museum and Art Gallery archive.

Elizabeth Bruges, Perth Highland Show. Image by John Watt between 1959 and 1961, © Perth Museum and Art Gallery archive.

 

Elizabeth Bruges, shown above in a photograph by Watt, at a time when her father oversaw the hill farm, is now herself an owner of Laighwood, alongside with her brothers, I met and photographed her for this recent chapter of the project. Hers is an interesting story and one which highlights in many ways the hurdles many women in agriculture faced at the time.

Elizabeth, Laighwood, Butterstone, Perthshire, May 2019.

Elizabeth, Laighwood, Butterstone, Perthshire, May 2019. From the series Drawn To The Land.  Image © Sophie Gerrard 2019 all rights reserved.

 

A photograph of Elizabeth gathering sheep, Laighwood, Butterstone, Perthshire, April 2019. From the series Drawn To The Land.  Image © Sophie Gerrard 2019 all rights reserved.

 

Elizabeth Bruges of Laighwood, Butterstone, Perthshire with copy of The Story of a Scottish Black Face Sheep.

Elizabeth Bruges of Laighwood, Butterstone, Perthshire with copy of The Story of a Scottish Black Face Sheep. © Paul Adair, Perth Museum & Art Gallery 2019 all rights reserved.

 

Installation shot of drawn to The Land at Perth Museum and Art Gallery. July 2019

Installation shot of drawn to The Land at Perth Museum and Art Gallery. July 2019

 

Installation shot of drawn to The Land at Perth Museum and Art Gallery. July 2019

Installation shot of drawn to The Land at Perth Museum and Art Gallery. July 2019

Paul Adair of Perth Museum said…

 ‘My  first encounter with Sophie’s exhibited work was at the Scottish National Portrait Gallery in 2016. The Ties That Bind was a Document Scotland group show and Sophie was exhibited work from her Drawn to the Land series. I loved everything about her work. The quiet stillness of her studies- portraits of lives through carefully observed details. The colour palette of her film-based work seemed so right for the material she was recording.

Sophie’s series on women working the land included Mary McCall Smith’s farm near Crieff in Perthshire. I saw an opportunity to work with Sophie to develop her Perthshire work for a display at Perth Museum & Art Gallery. I am delighted that Culture Perth & Kinross has been able to commission Sophie to work with additional Perthshire women in farming. As well as making a fantastic exhibition, acquiring some of Sophie’s work is a valuable addition to the photographic archive here at Perth Museum & Art Gallery. The archive already has a strong documentary theme and this cross over between art and social document inherent to photography fulfils makes for a potent combination.’

Installation shot of drawn to The Land at Perth Museum and Art Gallery. July 2019

Installation shot of drawn to The Land at Perth Museum and Art Gallery. July 2019

 

It’s important to me to continue this work, and I’d grateful that Perth Museum saw an opportunity for collaboration. Working with the archive has been a fascinating addition. Women who work the land in Scotland are under represented, they have been for centuries, indeed representations of landscape, landscape photography and farming have often been presented through a male viewpoint. I hope that this project can continue to explore these themes and continue to take me to the far corners of Scotland.

Sophie Gerrard’s Drawn to the Land is on until 31 October 2019 at Perth Museum and Art Gallery. Admission is free. Read the full press release here.

Perth Museum & Art Gallery, 78 George St, Perth, PH1 5LB

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Scottish Orange Walks, 1993-98

A new publication from Scotland-based photographer Jeremy Sutton-Hibbert and Café Royal Books, their 7th collaboration, has been recently released.

From a series of photography Jeremy undertook in the early 1990’s, in the West coast of Scotland, photographing the annual Orange Order marches, and the spectators who accompany the walks.

Edition of 250
32 pages
14cm x 20cm
b/w digital

Copies can be bought for £6.00 from Café Royal Books.

 

Other titles from Jeremy Sutton-Hibbert and Café Royal Books:

The Common Ridings

North Sea Fishing

Klondykers, Shetland, 1994

Nelson Mandela, Glasgow, 1993

Shipbuilding On The River Clyde

Longannet Colliery 2001

 

 

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A Game of 2 Halves in Coatbridge

The memories are still ripe in my mind. The rain sliding in a grey sheet across the train window, the cold air colliding with our faces and the wind catching our breath as we alight from the train at the inappropriately-named Coatbridge Sunnyside station. In the distance, piercing the sodden winter gloom, bright stripes of red and yellow paint greet our arrival at Cliftonhill Stadium, home for the last century to Albion Rovers Football Club, one of the also-rans of the Scottish game who have, according to some, merely been making up the numbers since their formation back in Victorian times.

This place is far removed from the higher echelons and glories of the game. It is, however, a place of ritual and pilgrimage. Whilst bus loads of Celtic fans have departed each Saturday from this corner of North Lanarkshire for the sunny upslopes of Parkhead, the few that remain behind have cast their lot in with their local football team, and exhibit the same amount of passion, devotion and love for a club which has steadfastly refused to be pulled across the religious divide that defines so much of this part of Scotland.

In their distinctive and almost hallucinogenic red and yellow colours, Albion Rovers have been ploughing and plodding along for as long as anyone can remember, often derided, frequently ignored, but always there. That we cannot place their name on the map has even become something of a badge of honour for club and supporters. They have this unique identity, one which would be sorely missed if The Wee Rovers ever exited the Scottish League.

And this is nearly what occurred during a tumultuous 2018-19 season: somehow, against all the odds and expectations, Rovers managed to come back from the dead, overhauling fellow sufferers Berwick Rangers and condemning the Northumbrians to relegation and oblivion. It was a close thing, but Albion Rovers survived.

Set amongst these tales of the constant struggle for survival are individual stories, some of heroism, most of stoicism. And one of a photographer: Iain McLean. Almost two decades ago, Glasgow-based McLean was casting around, looking for a long-term project, something sporting to get his teeth into. After rejection from a local rugby club, he received a positive response from Rovers and set about documenting behind-the-scenes at this iconic little club.

Iain McLean’s ‘A Game of 2 Halves’ Photograph © Colin McPherson, 2019 all rights reserved.

 

After a hiatus lasting several years, McLean once again focused his attention on Cliftonhill and was fortunate enough to witness both promotions and relegations, the contrasting emotions now visible in his newly-opened exhibition entitled A Game of 2 Halves, on show at the Summerlee, the Museum of Scottish Industrial Life in Coatbridge, until 27th October, 2019. It is, due to its location, necessarily folksy and fun, but nevertheless there is a fine body of work which shows a keen eye and dedication to stick with the subject through thin and thin (as life is at Rovers).

McLean’s dynamic monochrome images sit alongside cases of ephemera and souvenirs, memory-jogging reminders of seasons gone by, all in those distinctive bright colours. McLean’s work, however, shows us a colourful side to the Rovers: a kaleidoscope of characters, often in fancy dress, compete with the friendly smiles of tea ladies and kit men, all of whom make up the cast at Cliftonhill.

My own experiences of watching my team playing against Albion Rovers in Coatbridge are many and varied: the seemingly bright idea to take a new girlfriend to her first-ever football match – a stultifying nil-nil draw, which, amazingly, never deterred her from future games. Then there was the time a young boy was admonished for throwing bits of rubble around the tumbledown terracing: “Stop that, Billy, you’re making a mess,” was followed instantly by “Fuck off, dad, I’m tidying the place up!” And no trip was complete with a pre-match pint in Owen’s bar, just a wayward corner kick away from the stadium.

And then there was Victor Kasule: the singularly most mercurial talent I have ever borne witness to on the football fields of Scotland. A diamond in a sea of mud. The grace, skill, poise and speed which could leave any opponent for dead, a winger who could weave his way through any defence and into any bar, the other place where he was very much at home. ‘Vodka’ Vic came to prominence at a time when there was not a single black player playing in any of the professional leagues in this country. And while his career may have trailed off after spells in England and Finland, his legacy and the memories of his dazzling footwork, have upgraded his status from favourite to legend at Albion Rovers and Meadowbank Thistle.

I ask McLean whether he is likely to continue the journey he has been on with Rovers. He is uncertain and I get the feeling he is worried about repetition and seeing the same places and faces over and over again. I don’t think so. My sense is there is a lot more to discover here and that the project could unfold in many ways. In the meantime, raise a glass and wave a scarf to the players, officials, volunteers and supporters of the mighty Albion Rovers. And to Iain McLean for documenting their emotions.

Iain McLean’s ‘A Game of 2 Halves’ Photograph © Colin McPherson, 2019 all rights reserved.

 

Iain McLean’s ‘A Game of 2 Halves’ Photograph © Colin McPherson, 2019 all rights reserved.

 

Iain McLean’s ‘A Game of 2 Halves’ Photograph © Colin McPherson, 2019 all rights reserved.

 

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