Frances Scott is a photographer whose work Document Scotland have admired having enjoyed her book Undertow, published by Another Place Press, detailing her walks over the Orkney islands. A recently published ‘zine also by by the same publisher features a previous body of work, the A9 project, documenting Frances’ journeys between the Scottish Borders and the Orkney islands. Sophie met with Frances over zoom recently and took the opportunity to talk to her in more depth about these projects.
Some of our conversation is here, in Frances’ answers below, but to hear more and listen to Frances talk in detail about the work, please head over to our Patreon site where you can watch the video and learn more.
DS: When did you become a photographer – what was your early career and education and how did you get started?
FS: I studied Communication Design at Glasgow School of Art from 2010-14. The first two years of the course were broad (a mixture of illustration, graphic design and photography). In third year, after some difficulty choosing, I specialised in photography, and made the worthwhile discovery that by narrowing your area of study, you can deepen your focus, and get considerably more from it.
After graduating in 2014 I moved back to Orkney and struggled to get a job in the field I’d studied. I ended up working as cabin crew for Loganair, working solo on the lifeline flights which service Scotland’s islands. This meant I got to leave Orkney almost every day, and so I never really suffered from the ‘cabin fever’ you can get living on an island. Meanwhile, in 2016 I grouped together with a number of recent art graduates based in Orkney to form the Móti Collective, and after a bit of a hiatus began making artwork again. Our aim was to unite early career artists and designers who were either based in or returning to the islands, and celebrate Orkney’s importance as a creative hub in the north.
In early 2017 I got a job working as a photography technician at the GSA, and while I’m keen to assert the importance of not having an entirely city-centric creative practice there have been undeniable benefits to my career from being based in the Central Belt. At the same time, I miss Orkney very much, and maintain my links with my home – it has continued as the focus of much of my work, and I’m still a member of the Móti Collective, albeit a long-distance one.
DS: You started making Undertow in 2016, going for walks – it’s something many can relate to at the moment, how did those walks turn into a project?
FS: I began walking the coastline of the Orkney mainland in the spring of 2016, driven by the desire to know Orkney better, and primarily as a walking project rather than a photographic one. I wanted to really understand my home – to see how all the familiar places linked up, and to make my own claim on the island by walking it.
After four years of art school, experiencing life behind a lens, I wanted to be free from the need to document everything. It was important to be free to walk without interruption, to be fully present. The process of walking opened Orkney up to me – it made me see more, look harder, and remember better. Orkney grew, and keeps on growing.
When I started I didn’t have the funds nor the facilities to make analogue photographs, so I left my ‘real’ camera at home. I did however use an iPhone to gather ‘photosketches’ – quick, non-intrusive image gathering. I also recorded the walks using GPS and handwritten notes on maps. Over time, two things catalysed this project into artwork: taking part in a series of exhibitions as part of the Móti Collective from late 2016-18, and a research residency supported by Stills: Centre for Photography in 2018.
Having completed the coastline of the Orkney mainland in summer 2018, the Stills residency led me on to the coastlines of the North Isles: North Ronaldsay, Papay and Rousay. On these new walks around islands where I’ve never lived, I brought my Mamiya 645, loaded with black and white film. Initially, finding a balance between photographing and walking was a struggle. I felt the pressure of an audience for whom I had to create images, the weight of the camera on my hip; I was no longer alone on these walks. But working in this way has been vital in sharing and communicating my experience, and the images are also of value to me, so I am adapting.
Some of these film photographs were exhibited in 2019 at Stills in the group show AMBIT: Photographies from Scotland, and this year work from the series was published as a photobook entitled ‘Undertow’ by the Another Place Press, an independent publisher based in the Scottish Highlands. I’ve become accustomed to the rhythm of these walks as part of my life and my creative work, and I feel the loss of them just now during the pandemic when I can’t travel home.
DS: Writing is clearly a very important part of your practise, does that come first? And the images later – how does this process work for you and why is it important to include both in your projects?
FS: Even as images have taken more of a ‘leading role’ within my coastline project, the writing always happens first. After each walk I record my experiences on an OS Map, long before I process my film and see the photographic results of the walk.
Writing helps preserve the memory of each walk for me, and also to share the experience with others. It patches the gaps that photographs can’t, and thereby relieves some pressure on me – I might witness something too fleeting or dark to capture with a camera, but because I can record it in writing instead, it’s okay that I’ve only seen it with my eyes. Afterwards, writing allows visual or other sensory experiences to bloom naturally in the mind of the reader, and there is a roominess or fluidity in it that is perhaps not shared by the fixed and unbending nature of photographs.
I think the way I approach writing helps. It’s just ‘notes’ – notes on a map, or in a sketchbook, or on a scrap of paper. If these notes have anything of value in them, I can use or adapt them later. If I thought of it as proper ‘writing’ which might be published or exhibited from the beginning, I’d probably find myself intimidated and unable to get things down on paper.
DS: What was it like making this project into a book? It’s a beautiful object, how did the design and publishing process come together?
FS: It was daunting turning what had become a huge focus of my life into a book: how could I communicate my whole experience in book form? To alleviate some of the pressure of this, I choose to see the work I make about the project as creative ‘branches’ which grow from the experience, while the walks at their core remain mine, and separate from any artwork made about them.
I chose to only use the black and white film photographs in the book, as the iPhone photos wouldn’t sit well alongside them – they speak a different language. But without this sense of colour, something about the experience was left out – and so the book is accompanied by an insert which contains written notes from the Mainland and Rousay, small note-poems which try to convey the feeling of each walk through words. Also included in the book were maproutes
and handwritten maps of two of the North Isles.
Normally when laying out a photobook the images themselves lead the way, but I also had chronology to contend with: I wanted the reader to encounter each place in the same order I had. This created some complications in repetition and flow but over time these issues were smoothed out, until both Iain Sarjeant and I were happy with the layout. I chose a muted pink for the colour of the insert – this ‘glow’ is something I had associated with the walks in the form of sea-pinks, or the setting sun glancing off waves, or in the fiery clouds above, and I wanted some of this warmth to counter the greyscale images. The cover is simple, just a line that I walked (in this case part of the Deerness peninsula). It brings the project back to its roots – the brink between land and sea.
DS: When did the A9 project come about? It’s a fascinating document of a journey between two very important places in your life – why choose the road – is journey important to you?
FS: During my two years as a photo specialist at GSA, my tutor Andy Stark said ‘Your work is about journeys’. I’m interested in the way we store feelings or memories in the land, and how travelling through a landscape can help you process your thoughts in time with the landscape. I came across a piece of writing by Rosemary Sullivan a number of years ago that said ‘The landscape of childhood provides the foundation layer of our psyche’. I like to look at the way these formative landscapes become part of our fundamental understanding of the world. My childhood was spent split between the north and south – my original home of Orkney, where my dad lived; Caithness, where my mum’s parents lived; and my temporary home of Hawick in the Scottish Borders with my mum. My internal landscape has always contained an awareness of and a yearning for ‘somewhere else’.
I made the A9 series in 2014 at the tail end of my final year of art school. The project comes from my childhood living alone with my mum, and the many times she drove us northwards to see my family. It’s about the safety of the backseat, an only child with a car window for company. It’s also about leaving home, and the journey south to the city. The road links two halves of myself – a north/south, mum/dad, island/city, childhood/adulthood binary.
DS: Does this work include writing in such an important way too – or is it more image focused.
FS: Small paragraphs of writing are interspersed throughout the photozine. I use these to tell the story of the three days spent driving and photographing the road in 2014. I think I would have found it too difficult to pinpoint in writing exactly what the A9 holds for me, so it was better to focus on this one particular journey, which was the very first time I had driven the whole road alone. The writing hovers over the surface of a deeper sense of nostalgia associated with the A9. Because I was a relatively young woman, putting myself outside of the normal rules of travelling, I had a number of strange encounters over the course of the journey – including being stopped by the police and confronted by a gamekeeper, both while walking alone with my camera. Without including it in writing, this perspective would be lost. These written interludes invite the viewer to share this solitary journey with me.
DS: You’re working with Another Place Press again, tell us more about that relationship.
FS: Iain Sarjeant has been a supportive figure in the industry for a number of years now – I was encouraged back in 2015 when he featured some of my degree work on his online platform ‘Another Place Magazine’. At the time, I remember discovering his ‘Out of the Ordinary’ series and being fascinated by his images of Orkney, Caithness, Aberdeen – I was delighted to see the care and attention he gave to these places which had often felt snubbed or overlooked during my time as a student in Glasgow. Since then, Iain has kept an eye on my work on social media, and in late 2018 he approached me to ask if I might like to turn my coastline project into a book with Another Place Press. We’ve met in person a few times, but most of our planning/design correspondence takes place over email, a very democratic and open exchange of PDFs and ideas. Iain grew up in the Highlands, and understands the motivation behind my projects – I don’t have to explain why the places in my work are important to me, as they are often significant to him too.
DS: What’s next for you?
FS: I’ll be continuing my project to walk the coastlines of Orkney, since there’s a lot of coastline left. I’m going to keep making work about it, so perhaps there will be a sequel to Undertow in the coming years. The Covid-19 restrictions have unfortunately disrupted that project (I live in Glasgow and can’t travel to Orkney at the moment), so I’m having to be patient for now. In the meantime, I’ll be showing some work in an exhibition this month with the Móti Collective in Orkney, and I’m currently setting up a studio space in my flat.
DS: Thanks so much Frances, it was great to chat with you and hear more about these projects.
To see more of Frances’ work go to her website www.frances-scott.co.uk
Frances’ A9 ‘zine is available to purchase for just £8 from publisher Another Place Press
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