A Contested Land, at FLOW

 

The next showing of Document Scotland’s current exhibition, A Contested Land, featuring work by Sophie Gerrard, Jeremy Sutton-Hibbert, Stephen McLaren and Colin McPherson, will be at FLOW Photofest 2019, and held at Inverness College UHI.

FLOW Photofest 2019 – the international photography festival running across the Highlands & Islands and Moray in the North of Scotland, will launch on 6th September in Inverness.

 

FLOW would be delighted if you would be able to attend their official opening on the 6th September (6:00-8:00 p.m.) at:

Inverness Museum and Art Galley (IMAG)
Castle Wynd
Inverness
IV2 3EB

On show at IMAG will be work by Michael Flomen, Jana Romanova and Hannah Laycock. At Eden Court Theatre, a short walk away (and open till 10.00pm) we have work on show from:

Beka Globe
Jen Kinney
Tini Poppe
John Farrell
Adam Panczuk
Jeff J Mitchell
Daniel White
Sarah Riisager
Elena Chernyshova

At Inverness College UHI we have a major show from Document Scotland – A Contested Land.

The Launch night will also feature a visual display of work being shown outside Inverness in Thurso, Stornoway, Elgin, Findhorn, Uist and Ullapool by:

David Buchanan,
Iain Sarjeant (in association with Street Level Photoworks)
Kotryna Ula Kiliulyte,
Kacper Kowalski
Linda Lashford
Paul Glazier (in association with Street Level Photoworks)

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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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Craig Easton’s Fisherwomen

Born in Edinburgh, Craig Easton is a photographer whose work is deeply rooted in the documentary tradition. His photography often uses a mix of intimate portraiture and large format landscape to explore social histories and identity. His early career was defined by his work for the groundbreaking Independent newspaper in London and he has since gone on to win numerous international awards for both his commissioned work and personal projects.

This week, Craig launches the first exhibition of images from his Fisherwomen series in Montrose tomorrow, a project looking at the working lives of women who work onshore in the fishing industry along the east coasts of Scotland and England. As the show opened in Angus, Craig kindly agreed to share some insights into his photography.

Where did you get the inspiration or idea from to photograph the fisherwomen?

Initially, from the paintings of Winslow Homer and John McGhie and the old sepia tinted photographs of the ‘herring lassies’ on bustling quaysides. I’d read a lot about the the herring trade, how the fleet followed the annual migration of the shoals from Shetland to Great Yarmouth in Norfolk. And I’d read about how the fisherwomen used to mirror the fishermen’s annual journey travelling on land from port to port to gut and pack the herring into barrels in open air curing yards and quaysides. It felt to me that these women had been rightly celebrated for their critical role in fishing in days gone by, but their contribution was now mostly unseen – working as they were behind closed doors in large fish processing factories, smokehouses and small family firms right up and down the east coast. Fishing has always attracted photographers and artists, but most often the focus has been on the fisher ‘men’ and not the fisher ‘women’. I wanted to address that and make pictures that both documented and celebrated the women’s role in the same way as the painters had done in the late 1800s.

Could you tell us a bit about how the project developed, where were the locations you worked in and how long it all took?

I began the work in 2013 in Fraserburgh, Peterhead and Aberdeen. I’ve worked in and around fishing communities all my career and extensively in the Highlands and Islands of Scotland. I’d read Neil Gunn Silver Darlings and I knew the story of the herring girls and fisherwomen – how they used to wade through the freezing waves to carry their menfolk out to the boats to ensure they went to sea in dry clothing. How they baited the lines, mended the nets, gutted and packed the fish and essentially held the communities together whilst the men were at sea. I wanted to find today’s fisherwomen and so I started knocking on doors and making portraits in the processing houses in Aberdeenshire. You can imagine I got some odd looks and comments as I set up a backdrop and a large tripod in the middle of a working fish factory. Early on I decided to use the route of the traditional herring trade as a vehicle to explore the subject and to tie in the experience of the contemporary workers to the celebrated fisherwomen of the past. I continued to make portraits in various places on the east coast off and on over the next few years, until in 2017 when I decided to really concentrate on bringing it all together as a coherent project. I shot more pictures in Angus and Fife and then went up to Orkney and Shetland where the traditional herring season began in early summer each year. Speaking to the gutters, filleters and packers today, I realised they performed essentially the same role as their predecessors, but didn’t have the same connection from one fishing port to the next: the people in Shetland no longer travelled each season to Fraserburgh or Lowestoft and so the people of the southern ports didn’t have the same connection to the north. I wanted to remake that connection by shooting landscapes and seascapes along the length of the original route. The final piece in the jigsaw was to photograph and interview fisherwomen who had worked ‘at the gutting’ back in the 1940s, 50s and 60s – women who still remember the journey, still recalled the cacophony of the quaysides and could help make the connection to my contemporary portraits.

Did you discover anything unexpected, or was the project much as you had envisaged from the outset.

I’m not sure that I discovered anything ‘unexpected’ – I’d done a lot of research and was familiar with the story and the history. I discovered what I had hoped I would  find though and that was a fabulous camaraderie in the modern factory settings that can’t be that much different to the comradeship and fellowship of the herring girls when they stayed together in temporary ‘gutters huts’ or cheap lodgings as young women. There is still an enormous pride in their trade, it is still extremely skilled, arduous work and they are still the backbone of many fishing communities.

You have used a mix of archive material and your own work in the exhibition. Why?

To make the connection, to show how the modern fish workers are part of a long and important tradition, to tie the contemporary experience closely to the heritage. And one day, if this isn’t too bold, to maybe hang my pictures next to Homer’s, McGhie’s and the Jobling’s in a homage to the women of the fishing communities past and present. In some senses I see myself as an historian as much as a documentary photographer – it’s about recording social history, to preserve it for future generations. If those paintings hadn’t been made and those old black and white photographs of the herring girls hadn’t been taken, then we wouldn’t have the social history and we’d be all the poorer for it. It’s difficult sometimes to notice what’s important when our own experience is, by definition, ordinary and familiar to us, but I do think it’s important to see today in the context of history and it is as much my job to record this era as it was the artists of the past to record theirs. I don’t want it to sound grandiose, but I know that my life has been richly enhanced by photographs, paintings, literature, music etc etc from the past and so I feel it’s my responsibility to record what I see for future generations too.

How does this project fit into your other work?

Ah, good question. In the social history context mentioned above, it’s all interconnected I suppose.

More and more, recently, I’ve been recording audio or taking written testimony to work alongside the pictures, whether that is working with teenagers exploring how their dreams, hopes and ambitions are influenced by social background or location etc, as I did with the group project I’m leading called Sixteen, or whether it’s listening to the memories of fisherwomen and making connections between different generations, I feel that it is all about storytelling, listening and learning about real lives. The more we share and communicate with one another, the more we understand each other and it feels to me like that is more important now than ever. Maybe taking some pictures, talking to people and helping to tell their stories can play some small part in that.

A small selection of the work will be shown at Montrose Museum and Art Gallery from 19th April – 1st June, 2019, with a preview on the opening night. Craig will be expanding the work into the English fishing ports in the coming months and a wider show will happen at the Hull Maritime Museum in August, then aspects of it will travel to other galleries and museums along the route.

From ‘Fisherwomen’ by Craig Easton. Copyright photograph 2019, all rights reserved.

From ‘Fisherwomen’ by Craig Easton. Copyright photograph 2019, all rights reserved.

From ‘Fisherwomen’ by Craig Easton. Copyright photograph 2019, all rights reserved.

From ‘Fisherwomen’ by Craig Easton. Copyright photograph 2019, all rights reserved.

From ‘Fisherwomen’ by Craig Easton. Copyright photograph 2019, all rights reserved.

 

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Chick Chalmers: American beauty

The United States of America is the great canvas onto which photography has painted history. As such, it is hard to imagine discovering a new body of work which truly illuminates American life, throwing into sharp relief the rugged contours of this singularly unique and diverse nation.

In 1980, Edinburgh-born documentary photographer Chick Chalmers (1948-98) was awarded a Scottish Arts Council grant as part of an exchange programme to visit the United States to take photographs. During a nine month period he visited almost every state over in an ancient VW camper van. The result was An American Roadtrip, which is currently being exhibited for the first time in almost four decades at Ten Gallery in the capital. These powerful yet subtle images reveal America’s hidden depths as depicted in everyday scenes in towns, cities and streets across the land. It is a remarkable set of photographs, one which although instantly calling to mind the great Robert Frank, nevertheless have something decisive and individual in their observational quality and forthright composition. These monochrome pictures set the stage for a country on the cusp of change: the stinking entrails of segregation sit uneasily with the creeping onset of Reaganomics which would render much of what Chick depicted as obsolete and redundant within a decade. These are moments in time to savour, and each one of the photographs on display invite the viewer to linger and ponder.

Like his photographs, Chick Chalmers was something of an enigma. His work was familiar to me, insomuch that the small amount he did produce was of such outstanding quality and interest that he was one of the ‘names’ which influenced my dreams of becoming a photographer. His series on life in Orkney shot in the mid-1970s produced many gems, none more so than ‘Sheep Being Transported For Sale In Kirkwall, Orkney’ a classic Scottish documentary image.

After An American Roadtrip was completed and premiered at Stills Gallery in 1982, Chick concentrated on teaching and his growing family. Despite the pleadings of friends and colleagues, he was happy to remain in the shadows, producing a fraction of the amount of work which his talent deserved. But that was his choice. And the beneficiaries of his wisdom and love were his students and his family. Although I didn’t know Chick personally, I remember precisely the day of his untimely death. I was attending a photocall with a number of other photographers where the world’s first bionic arm was being presented by scientists in Edinburgh. Suddenly a call came through that Chick was about to pass away and I recall at least three of the photographers present simply dropped their cameras and dashed across town to be with him. It is a mark of the man’s remarkable presence that he wished to be with so many friends at this pivotal moment of his life.

Legacy is an oft used and abused word in the world of photography. Few bodies of work survive the test of time and can be said to be truly important. I would content that Chick Chalmers’ An American Roadtrip deserves to be regarded as one of the great canons of work ever produced by a Scottish photographer. It is both exciting and gratifying that it is seeing the light of day once again, fittingly, in the city of his birth.

Untitled image from ‘An American Roadtrip’. © Chick Chalmers, all rights reserved.

Untitled image from ‘An American Roadtrip’. © Chick Chalmers, all rights reserved.

Untitled image from ‘An American Roadtrip’. © Chick Chalmers, all rights reserved.

Untitled image from ‘An American Roadtrip’. © Chick Chalmers, all rights reserved.

Untitled image from ‘An American Roadtrip’. © Chick Chalmers, all rights reserved.

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@EverydayClimateChange

@EverydayClimateChange, a Street Level Photoworks show, co-curated by Jeremy Sutton-Hibbert, is on now at Hillhead Library, Glasgow, until April 28th. 

Hillhead Library

348 Byres Rd, Glasgow G12 8AP

Monday to Thursday: 10:00am – 8:00pm
Friday & Saturday: 10:00am – 5:00pm
Sunday 12:00pm – 5:00pm

Another opportunity to see panels from the collective Instagram account involving 20 photographers from 6 continents, depicting causes and effects of, and solutions to, everyday climate change. This exhibition brings the photographic works of 14 of the contributors to the library walls, and includes photographs from Scotland by Jeremy Sutton-Hibbert.

Includes panel images by Ashley Crowther (based in South Korea), Sima Diab (Syrian, based in Egypt), Georgina Goodwin (based in Kenya), James Whitlow Delano (USA / Lives in Tokyo, Japan), Matilde Gattoni (Italy), Nick Loomis (based in Senegal), Ed Kashi (USA), Suthep Kritsanavarin (Thailand), Mette Lampcov (Danish, based in USA), John Novis (England), Mark Peterson (USA), J.B. Russell (USA, based in France), Jeremy Sutton-Hibbert (Scotland), Elisabetta Zavoli (Italian, based in Indonesia).

In this below narrated slideshow Jeremy Sutton-Hibbert discusses the Everyday Climate Change collective group, how they operate and the work on show at the exhibition. This slideshow was made by Street Level Photoworks to commemorate Green Arts Day 2019.

The exhibition was first shown at Tronagate 103 as part of the Season of Change 2018, a UK-wide programme of cultural responses celebrating the environment and inspiring urgent action on climate change that coincided with the COP24 UN Climate Negotiations in Katowice, Poland in December 2018. More info here

Panel design and exhibition support by Yuko Hirono / Cabin 8 Design.

 

 

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A Contested Land, at Perth Museum

Our touring show for this year, A Contested Land, opens on 23rd April at Perth Museum and Art Gallery. The show will run until 23rd June, with talks about the exhibition and work by Jeremy Sutton-Hibbert, Sophie Gerrard and Colin McPherson, on the evening of Thursday 9th May, 7pm.

Perth Museum and Art Gallery,

78 George St, Perth

PH1 5LB.

Tel. 01738 632488

Tuesdays- Sundays, 10am- 5pm. Closed Mondays. Free entry.

 

‘Tresured Island’. © Colin McPherson, 2019 all rights reserved.

 

Set within the context of contemporary political debate and social changes, A Contested Land consists of four new projects by photographers Jeremy Sutton-Hibbert, Sophie Gerrard, Colin McPherson and Stephen McLaren. Collectively, they examine the complex relationships between the nation’s people, history and land at one of the most important times in Scotland’s recent past.

The works reflect upon Scotland’s precarious environmental and economic landscape, within ongoing political conflicts that give these issues relevance and urgency. During both the Independence and European Union referendums, the word that dominated discussion was ‘change’ – it became the go-to for the dissatisfied. However, even with this uncertainty, the referendums have highlighted the fact that the Scottish people are proud of their identity and independent voice.

 

Faslane, Scotland, on 22 September 2018. ‘Nae (No) Nukes Anywhere’ anti-nuclear weapons demonstration at the Faslane Peace Camp and walking to a rally outside HM Naval Base Clyde, home to the core of the UK’s Submarine Service, in protest against Trident nuclear missiles. The rally was attended by peace protestors from across the UK who came “to highlight the strength of support from many UN member states for Scotland, a country hosting nuclear weapons against its wishes”. © Jeremy Sutton-Hibbert, 2018.

 

The four bodies of work presented in A Contested Land – exhibiting for the first time in Scotland at Perth Museum & Art Gallery, reflect upon the ongoing changes Scotland continues to face.

The show launched at the Martin Parr Foundation, in Bristol, in January and February, and now moves to Scotland for a run of showings

– Perth Art Gallery and Museum – 23rd April 2019 – 23rd June 2019. Preview on 9th May, 7pm.
– Dunoon Burgh Hall – 20th July 2019 – 18th August 2019. Preview on 19th July.
– FLOW Photofest, Inverness, September 2019.
– Photo North festival 2019, Harrogate, England, 30 November – 2nd December 2019. This showing of A Contested Land will also include work by Margaret Mitchell.

 

Edinburgh Unchained. Photograph © Stephen McLaren, 2018 all rights reserved.

 

from the series The Flows © Sophie Gerrard 2018.

.

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Evening of photography from Scotland

Yesterday evening at Stills in Edinburgh, Document Scotland photographers Jeremy Sutton-HibbertSophie Gerrard, and Colin McPherson, and guests Arpita Shah and Margaret Mitchell, presented new photography work to a packed house, answering questions and generally having an enjoyable evening of photography from Scotland.

 

First on the floor was Sophie, introducing her new work The Flows, which takes a look at the management of the UK’s largest peat bog in the north east of Scotland, and the conservationists who manage it. Arpita led us on a brief trip through a few of her projects all of which look at Asian women, the diaspora and her own family and their journey through India, Kenya and Scotland. We were treated to a look at her new work ‘Nalini’, a project which will be on show at Street Level Photoworks in Glasgow, as of this Saturday, Feb 9th.

Jeremy Sutton-Hibbert presented images of the political demonstrations and marches that he has been photographing these past few years in Scotland, but started the talk with a few similar images from Romania in 1991, and Japanese demonstrations in 2003-2012, showing the threads and seams of work that run through his extensive archive.

 

Colin McPherson introduced ‘Edinburgh Unchained’ work of Stephen McLaren who sadly couldn’t make it along, talking to the Edinburgh crowd of the history of their city and how it benefited and profited from slavery and the end of slavery in the Caribbean, and the compensation paid to UK slave owners.

Margaret Mitchell silenced the crowd with her very thoughtful presentation of work about her own family, shot over 20 years. The projects, ‘Family’ and ‘In This Place’, provoke questions concerning options in life and how these are tied to the places you’re born, the society and families you’re born into, and the economic pressures which come to bare. You can read an interview with Margaret Mitchell about her work on our site here.

 

Colin rounded off the evening with a lovely presentation of his new work from Easdale Island on the west of Scotland, an island he has a 30-year history with, but through photographing there in recent months has rediscovered a new love for the place and and the people that live there.

Many thanks to all who came, for your thoughtful questions and also, much thanks to Ben Harman, Rachael and the staff at Stills for helping facilitate the evening.

The Document Scotland work on show yesterday evening can all be seen on the walls at the Martin Parr Foundation in Bristol until March 16th. Following that the work will tour to Scotland.

See more information about the show and the press release here.

Martin Parr Foundation
316 Paintworks
Arnos Vale
Bristol
BS4 3AR

Gallery opening times
Wed to Sat, 11am – 6pm
Sun to Tue, closed

Free entry to all exhibitions.

Touring exhibition dates

– Perth Art Gallery and Museum – 23rd April 2019 – 23rd June 2019.
– Dunoon Burgh Hall – 20th July 2019 – 18th August 2019. Preview on 19th July.
– FLOW Photofest, Inverness, September 2019.
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A Contested Land

Document Scotland’s A Contested Land has now opened at the Martin Parr Foundation in Bristol, England. The show runs until 16th March, 2019, before further showings in Scotland at Perth, Dunoon and Inverness.

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019. 

 

It gives us great pleasure to announce that our latest show, A Contested Land, successfully opened last week at the Martin Parr Foundation. Surrounded by friends, family, colleagues and esteemed members of the photographic community, a lively evening kicked off the show’s run in Bristol.

With talks by all four Document Scotland photographers – Sophie Gerrard, Jeremy Sutton-Hibbert, Stephen McLaren and Colin McPherson, the crowd was entertained and the works on the walls introduced before the socialising began over drinks.

With thanks to all who attended including Annie Lyden of the Scottish National Portrait Gallery, David Hurn/Magnum, Homer Sykes, Tony O’Shea, Brian Sparks, Daffyd Jones, Miles Ward, Craig Easton, Toby Smith, Jon Tonks, and many, many more. And of course many thanks to Martin Parr and his wonderful team for their support, generosity and hospitality.

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019.

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019.

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019.

 

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019. 

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019.

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019.

 

See more information about the show and the press release here.

Martin Parr Foundation
316 Paintworks
Arnos Vale
Bristol
BS4 3AR

Gallery opening times
Wed to Sat, 11am – 6pm
Sun to Tue, closed

Free entry to all exhibitions.

Touring exhibition dates

– Salon event at Stills Gallery Edinburgh 7th February 2019 (evening).
– Perth Art Gallery and Museum – 23rd April 2019 – 23rd June 2019. Preview on 9th May, 7pm. .
– Dunoon Burgh Hall – 20th July 2019 – 18th August 2019. Preview on 19th July.
– FLOW Photofest, Inverness, September 2019.
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A Contested Land: Behind the lens #4

In the lead up to our forthcoming exhibition A Contested Land opening at the Martin Parr Foundation in Bristol on 15th January 2019, each of the Document Scotland photographers gives an insight into their work, this week Stephen McLaren talks about his new and ongoing work Edinburgh Unchained.
“After I finished taking photographs for my 2015 project, A Sweet Forgetting, which looked at how Scottish slave-owners made their fortunes in the production of sugar by thousands of enslaved Africans in 18th and 19th century Jamaica, I felt that there was some unfinished business here for me. Specifically I wanted to know how wider Scottish society had related to the rapacious nature of the slave-colonies in the Caribbean? What did they know, when did they know it, and what did they do about it? 

Edinburgh Unchained. Photograph © Stephen McLaren, 2018 all rights reserved.

 

These are the kinds of historical questions that photography struggles with, or certainly my kind of photography struggles with. How to photograph the social and historical attitudes of a population?

Anyway, one way through the puzzle, I found was to look at one specific Scottish location, Edinburgh’s New Town, and using historical records try and make some kind of visual record of how slavery impacted the lives of the city’s denizens.

Edinburgh Unchained. Photograph © Stephen McLaren, 2018 all rights reserved.

 

In Edinburgh Unchained, I have attempted to show how those genteel Georgian streets laid out to create room for a burgeoning Scottish middle class, benefited enormously from slavery in the Caribbean during the 18th and 19th centuries. 

Edinburgh Unchained. Photograph © Stephen McLaren, 2018 all rights reserved.

 

In 1834, when slave-ownership was finally abolished, the British government paid out £20m to compensate around 3,000 families that owned slaves for the loss of ‘property’. This sum is the equivalent of around £16.5bn today and equates to around 40% of UK’s gross national product in that year. This was the biggest bailout of private interests in British history and the government debt was only finally paid off in 2017.

The New Town in Edinburgh benefited disproportionally from this bailout and thanks to a ground-breaking database from University College London, we know that 320 Edinburgh addresses were compensated by the government for every slave that was owned by these households. 

Edinburgh Unchained. Photograph © Stephen McLaren, 2018 all rights reserved.

 

In Autumn 2018, I downloaded the UCL database of compensated slave-owners from New Town, Edinburgh, and using GPS I walked and cycles around every street. I photographed every address in whose owners had been compensated in 1834 and found that, thanks to very strict preservation orders, virtually all these addresses currently still exist. Not every house contained slave-owners as many were represented by local agents and lawyers, but a great many were fairly ordinary people, who just happened to own slaves.

Virtually all of the properties I visited are respectable Georgian-era buildings, most are still private dwellings, but occasionally we see how commercial life has taken over some of these properties in the intervening period. What is certain is that Edinburgh, as a city, benefited from slavery, both from the huge government compensation bailout, but also from 150 years of brutal human exploitation of African labour.

Edinburgh Unchained. Photograph © Stephen McLaren, 2018 all rights reserved.

 

In Edinburgh Unchained I suggest that the profits from slavery have been deeply embedded in the very fabric of Edinburgh life and society, and that ultimately, the city, and Scotland as a whole, has a massive debt to pay to the countries of the Caribbean for the depravity and human exploitation which lay at the heart of this transatlantic crime against humanity. 

If you would like to read my Guardian article on why Scotland has a real financial debt to pay the countries of the Caribbean for the era of slavery please follow this link…https://www.theguardian.com/commentisfree/2017/jan/13/slave-trade-slavery-scotland-pay-debts

 

Document Scotland’s A Contested Land will have its first showing at the Martin Parr Foundation in Bristol, England from 16th January until 16th March, 2019, before further showings in Scotland at Perth, Dunoon and Inverness.

See more information and the press release here

Martin Parr Foundation
316 Paintworks
Arnos Vale
Bristol
BS4 3AR

Gallery opening times
Wed to Sat, 11am – 6pm
Sun to Tue, closed

Free entry to all exhibitions.

Touring exhibition dates

– Salon event at Stills Gallery Edinburgh 7th February 2019 (evening).
– Perth Art Gallery and Museum – 20th April 2019 – 23rd June 2019.
– Dunoon Burgh Hall – 20th July 2019 – 18th August 2019. Preview on 19th July.
– FLOW Photofest, Inverness, September 2019.
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A Contested Land: Behind the lens #2

As we approach our forthcoming exhibition at the Martin Parr Foundation in Bristol in January, 2019, each of the four Document Scotland photographers gives an insight into the work they have made for the show. Here, Jeremy Sutton-Hibbert tells of his project ‘Let Glasgow Flourish’:

Pro-Scottish Independence march, organised in the ‘All Under One Banner’ name, through the streets and to the battlefield in Bannockburn on the 704th anniverary of the Battle of Bannockburn. It was estimated that 10,000 people took part in the march calling for a second independence referendum. © Jeremy Sutton-Hibbert, 2018.

 

“I’ve always marvelled at the thought that walking down the street any one person you see has a multitude of experiences and stories to tell, you take that one person and the stories you could tease out of them, and multiply that by everyone in the street and then the city, the country. So many stories, so many nuanced versions of life all informed by different upbringings and experiences.

And so it is with political views, a multitude of nuanced political views abound, and this has never been more obvious than in the streets of Glasgow, and Scotland, over these past few years. 

After a decade of photographing in Japan I moved home to Glasgow in 2012, knowing the referendum on Scottish independence from the United Kingdom was going to be gearing up as we approached the 2014 Scottish Independence referendum date. I wanted to be back in the country to see it all, to experience it, and of course to vote. 

 

A Unionist demonstration takes place as the Scottish Cabinet sits at the Fernhill Community Centre for the fifth in a series of meetings outside of Edinburgh following publication of Scotland’s Future, the Governments’s white paper book on Scottish Independence.  May 2014, in Rutherglen, Scotland. © Jeremy Sutton-Hibbert 2018

 

I attended the rallies and marches of both sides, pro-Union and pro-Independence, trying to understand both sides of the argument, photographing it all. Photographing what we were told at the time was a ‘once in a generation’ referendum. For me, trying to describe in pictures the colour, energy and anticipation of what would come before us was the greatest challenge, but also the most rewarding part of the experience. It felt as if anyone in Scotland could have been there, on those marches. For both sides it was a peoples’ crusade: the divisions cut across race, class, gender and location.  

Now four years on and not much has been settled, we’re still walking on daily shifting sands of political information. A second Independence referendum is still a debated issue, still on a hand of cards yet to be played and for the time being kept close to the SNP’s chest. The political game of cards has seen many other hands played: the chaos of Brexit; Scotland welcoming refugees (as it always has) seeking asylum and the extreme minority Scottish Defence League staging rallies to espouse their hatred against them; anti-Trump demonstrations taking place when the American President insults the people of Scotland, as elsewhere, with his below par versions of truth, except Scotland is home to two of his golf courses; and at Faslane peace protestors continue to link arms and sing against Trident missiles which are still the true monster in the Scottish loch. 

 

 ‘Nae (No) Nukes Anywhere’ anti-nuclear weapons rally outside HM Naval Base Clyde, home to the core of the UK’s Submarine Service, in protest against Trident nuclear missiles. The rally was attended by peace protestors from across the UK who came “to highlight the strength of support from many UN member states for Scotland, a country hosting nuclear weapons against its wishes.” Faslane, Scotland, September 2018. © Jeremy Sutton-Hibbert, 2018.

 

There hasn’t been a shortage of political theatre in the streets to watch, to listen to, and to photograph. Some views you can understand, some you wince at when you hear them spoken, but the one thing we can be proud of and take from it all, pro- or anti-, is that the people of Scotland are awake.”

Document Scotland’s A Contested Land will have its first showing at the Martin Parr Foundation in Bristol, England from 16th January until 16th March, 2019, before further showings in Scotland at Perth, Dunoon and Inverness.

See more information and the press release here

Martin Parr Foundation
316 Paintworks
Arnos Vale
Bristol
BS4 3AR

Gallery opening times
Wed to Sat, 11am – 6pm
Sun to Tue, closed

Free entry to all exhibitions.

Touring exhibition dates

– Salon event at Stills Gallery, Edinburgh. 7th February 2019 (evening).
– Perth Art Gallery and Museum – 20th April 2019 – 23rd June 2019.
– Dunoon Burgh Hall – 20th July 2019 – 18th August 2019. Preview on 19th July.
 FLOW Photofest, Inverness, September 2019.

 

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A Contested Land: Behind the lens #1

In the lead up to the opening of our forthcoming exhibition at the Martin Parr Foundation in Bristol in January, 2019, each of the four Document Scotland photographers gives an insight into the work they have made for the show. We start with Colin McPherson, who tells us about his project entitled Treasured Island.

“Last year, we sat down as a collective and discussed what the big issues were facing Scotland at present. Although it is blinding obvious to mention Brexit and all the ramifications and spin-offs from that, including the prospect of a second Independence referendum at some point, we wanted to look more broadly at what challenges and changes Scotland face, and how we could illustrate this through a collaborative photographic narrative.

One theme that we kept on coming back to was ‘land’. Taken in its broadest context, the relationship between our history and people has always been connected to a sense of place in Scotland. Whilst the issues around land-ownership and management, with its relevance to the environment and economic growth, are often debated, these subjects are best illuminated when narrated either through people, communities or by the photographer themselves. We wanted to show the diversity of Scotland within the idea of a project based around ‘land’ and to be able to stretch the imagination of our audiences to think beyond the obvious. As always, that’s a difficult task, but one I think we have achieved through A Contested Land, the title we settled on for the four individual bodies of work.

From ‘Treasured Island’, 2018. Photograph © Colin McPherson, 2018 all rights reserved.

 

The problem is there are just so many interesting aspects to our ongoing relationship with the physical landscape of Scotland. Misty-eyed romanticism often clouds our judgement about where we live and how we relate to our surrounding environment. For myself, I wanted to tell a personal story, one which could resonate beyond the confines of where I made the work, and which would challenge me to re-examine my relationship and place within a very special community in Argyll.

My connection with the tiny, car-free island of Easdale goes back three decades. I first visited on holiday, and having fallen in love with the place, subsequently built a house and lived there for a year. It is a location best known for its history as the centre of the Scottish slate quarrying industry of the 19th century. Easdale slate was said to have roofed the world, and this industrial legacy is still very much in evidence today, with abandoned buildings, piles of slate spoil and disused flooded quarries configuring the landscape. I was more interested, however, in the parallels of life then and now, more specifically by looking at the difference in men’s lives in the past and today, and how memories of a bygone age still resonate today.

Life was indeed hard in the days when teams of men quarried for slate. The work was relentless and the conditions harsh. But life on Easdale was embellished by a strong sense of communal life, with a school, evening classes for adults and other activities. Paradoxically, it is much harder for islanders these days to engender the same sense of community, although Easdale today boasts a pub, has an active residents group and organises events such as the annual World Stone Skimming Championships. The main connection with the past, however, lies in the challenges and difficulties faced by the population today: the unpredictable weather and tough economic conditions both locally and further afield mean that life and living are almost as precarious today as during the quarrying heyday, when over 400 people lived on Easdale.

From ‘Treasured Island’, 2018. Photograph © Colin McPherson, 2018 all rights reserved.

 

Making the work for Treasured Island allowed me to engage with the community on a new level personally. Although a frequent visitor to Easdale, I have seldom previously used my camera as a means of exploring and narrating life on the island. My family has played a small part in the regeneration of the island (the population now stands at 65, having decreased to just a handful in the 1960s), so this project, shot entirely in 2018, has been my way of rekindling my connection with the place, whilst reflecting the immense sense of pride and care people take for the island. They may not always agree on what’s best for Easdale, but the sense of ownership and a love for the island’s unique landscape is never far from any conversation with local people.

I aim to continue the work I began this year. I believe that it is important to keep documenting the changes around us. We cannot say with any certainty where Scotland, or Easdale, will be in five or ten years’ time, but whatever happens we will still look back to the past to inform ourselves about the present, and hopefully the future…”

Document Scotland’s A Contested Land will have its first showing at the Martin Parr Foundation in Bristol, England from 16th January until 16th March, 2019, before further showings in Scotland at Perth, Dunoon and Inverness.

See more information and the press release here

Martin Parr Foundation
316 Paintworks
Arnos Vale
Bristol
BS4 3AR

Gallery opening times
Wed to Sat, 11am – 6pm
Sun to Tue, closed

Free entry to all exhibitions.

Touring exhibition dates

– Salon event at Stills Gallery, Edinburgh. 7th February 2019 (evening).
– Perth Art Gallery and Museum – 20th April 2019 – 23rd June 2019.
– Dunoon Burgh Hall – 20th July 2019 – 18th August 2019. Preview on 19th July.
 FLOW Photofest, Inverness, September 2019.

 

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A Contested Land

A Contested Land – new work and exhibition from Document Scotland. 

Set against the current political backdrop, Document Scotland’s four photographers examine the complex relationships between the nation’s people, history and landscape.

Showing at The Martin Parr Foundation, 15th January 2019 – 16th March 2019.

‘All Under One Banner’, Scotland. © Jeremy Sutton-Hibbert 2018.

 

“The Foundation supports and preserves the legacy of photographers who made, and continue to make, important work focused on the British Isles.” – Martin Parr.

 

A Contested Land.

When taking part in a tournament, competition or any sort of contest, it is usual to know what the prize is for winning. Whether it is a shiny medal or golden trophy, the outcome is usually something pre-determined or tangible, even if it is not ultimately obtainable by everyone competing. To the victor, the spoils: to everyone else the scars of defeat or the satisfaction not of winning but of having taken part.

If this description of where Scotland is as a nation today is somewhat allegorical, it is worth considering that the current and ongoing debate about the nation’s future hides the many layers of its story. Life continues to change and evolve, often in-spite of rather than because of the debates around the merits of becoming an independent nation, the ramifications of Brexit or the challenges posed by climate change or other seismic global events.

Into this miasma steps Document Scotland: four photographers passionate about dissecting their nation and disseminating their viewpoint beyond the border at Berwick in order to stimulate, inform and educate. By looking past the tired tropes and casual cliches which often cloud an accurate view of what Scotland is today, they aspire to offer a passionate yet dispassionate take on aspects of the nation unseen.

The past is ever-present in each of the collective’s four new individual projects which meld together to form A Contested Land, the title of Document Scotland’s forthcoming exhibition. 

 

from the series The Flows © Sophie Gerrard 2018

 

Easdale, Scotland. © Colin McPherson 2018.

 

 

‘Edinburgh Unchained’, © Stephen McLaren 2018.

 

Anti-nuclear demonstration, Faslane, Scotland. © Jeremy Sutton-Hibbert 2018.

 

For decades, Scotland’s largest city has been a hotbed of radical ideas, protest and, at times, insurgency. From the 1919 Red Clydeside rebellion, to opposition to the Poll Tax, from support for Spanish Republicans opposing General Franco to the hero’s welcome afforded to Nelson Mandela, politics has never been far from the surface in Glasgow. Today, set against the prospect of Brexit and a possible second referendum on Scottish independence, Glasgow is alive with political activity. The city has a long tradition of integrating people from elsewhere. In the past, Irish immigrants sought refuge from the Famine whilst Highlanders fled the brutal Clearances. In modern times asylum seekers have sought safe haven in the city. These events have helped shape Glasgow and given it a sense of identity and purpose and a pride that its people are ‘Clyde built,’ like the magnificent ships once manufactured on the river which snakes through the heart of the city: resilient, proud and unique.  As an insider, photographer Jeremy Sutton-Hibbert has spent a quarter-of-a-century documenting the raw and powerful political theatre which plays out in Glasgow’s public places. Saltires, tricolours and Union Jacks compete for space in vibrant and lively displays of standard-bearing, demonstrations and protests. Placards are waved, slogans chanted and the passion and belief on show evoke and provoke a visceral reaction based on one’s own point-of-view. What intrigues is not what divides the different sides of these arguments, but what, ultimately, unites: they are all Glaswegians. Strip away the banners, confiscate the flags, put them side-by-side on their marches, and you cannot tell these adversaries apart. It is what makes this work so poignant and beguiling. And offers the tantalising possibility of an undivided future, whatever the ramifications of current political discourse and disagreements.

 

from the series The Flows © Sophie Gerrard 2018

Sophie Gerrard’s work focuses on the gentle and undulating peat lands of Scotland’s Flow Country. Eschewing sentimentality, the photography looks at how this precious environmental resource has been desecrated and denuded over generations and how these almost magical places are being revived and reinvigorated through careful and considered conservation.  This is no abstract notion: survival of the peat bogs is a touchstone for the health of the nation. Once seen as ‘fair game’ for industrial-scale exploitation, Sophie poses a metaphorical question, asking us to consider our relationship with local and national areas of outstanding beauty and how these places of natural resources fit into Scotland’s topography and consciousness, linking people to the land, and vice-versa.

 

‘Edinburgh Unchained’, © Stephen McLaren 2018.

 

Building on previous work which looked at the historical ties that bind Scotland with slavery through the sugar industry, Stephen McLaren returns to the theme to explore and examine the hidden and almost forgotten link between Edinburgh’s wealth and the slave trade with Jamaica. In the immediate aftermath of this year’s Windrush scandal, it is a timely and forceful reminder that the past, in all its forms, is immediately around us. Behind the front doors of Edinburgh’s New Town lies the legacy of British colonial exploitation. With each pound passed down through the generations, Scotland distanced itself from its inheritance as architects and perpetrators of the widespread and cruel exploitation of many thousands of bonded and chained men, women and children. Stephen’s work does not exist merely to prick our consciousness, but to start a national conversation about acknowledging an historical wrong and discussion about reparations. It should also force Scotland to examine and re-evaluate the relationships with people and communities within and outwith its own borders.

Easdale, Scotland © Colin McPherson 2018

History is the starting point for Colin McPherson’s visual exploration of life on Easdale, the smallest permanently-inhabited Hebridean island on Scotland’s long, varied and sparse west coast. Once the epicentre of Scotland’s renowned slate quarrying industry, this fragile parchment of rock, sitting two hundred metres off the adjoining island of Seil, has become a by-word for repopulation and reinvention as its current community continues to battle traditional adversaries: economics and the environment. At its height in the 19th century, Easdale housed four hundred people; the quarrying provided work for the men and the slates they produced roofed the world, from the cathedrals in Glasgow and St. Andrews to the New World. When an epic storm decimated the island in the 1880s, the island went into decline and depopulation, only for a new band of pioneers to resettle and revive Easdale nearly a century later. The photographer’s personal connections with the island date back thirty years, and in this series he offers a contemporary commentary about the parallels with the past and how many of the 65 current residents live their lives.

In one sense, Scotland is not unique in that the problems it faces are identical in many other nations: environmental dangers demanding urgent governmental and public responses; poverty and lack of opportunity blighting a country of great natural wealth; inequality in all its forms scarring society, holding back peoples’ potential and draining the public purse. Viewed from afar, Scotland appears to be no different from any other country as the world evolves in the 21st century digital dynasty. However, drill down below the surface and what is revealed is a multi-layered tapestry, a hopscotch, hotchpotch history where the ebb-and-flow of power and wealth, emigration and immigration and an often rudderless sense of direction leaves the impression seen from within of a nation sailing precipitously through low-hanging haar towards an unknown destination. That is not to say there isn’t a strong sense of what constitutes Scottishness to guide the country. It pre-determines the national conversation, and if the 2014 Independence referendum highlighted one thing through the debate, discussion and diatribe, it was that those who live, work and breathe the air in Scotland feel first-and-foremost Scottish above all else. Scotland may not be colour coded like so many nations, including its much larger, more powerful and influential neighbour to the south but the sense of Scottishness runs through its citizens veins as strongly as the clear waters of any burn cascading its way down a craggy Munro into one of those fabled lochs or glens. So, whilst the direction of travel might be clear the ultimate destination remains tantalisingly unseen.

Scotland is mired in inconsistencies and contradictions. Vast tracts of its famous wilderness have been scarred by generations, centuries even, of public and private mismanagement, leaving a brutalised landscape, barely fit for human habitation and endeavour. The country’s precious marine resources are controlled by a mere five all-powerful fishing families. The wealth of the wealthiest is 250 times that of the poorest. Whilst the population of its major city conurbations continue to grow and expand, population growth in many areas is flatlining or even falling, leading to an unsustainable drain of the best and brightest from some of the most iconic and far-flung locations. The public response to this has been confused. During both the Independence and European Union referendums, the word which dominated the discussion was ‘change’. It became the go-to for anyone dissatisfied or desperate, demanding or downtrodden.

Although still rooted in many traditions of the past, one-eyed, lopsided romanticism has given way to glorious reinvention and innovative thinking. From the games designers of Dundee who brought the world Lemmings and Grand Theft Auto to Pride marches in the Outer Hebrides giving a voice to marginalised individuals, slowly but surely Scotland is loosening the grip of its moral masters, that toxic combination of power, vested interests and religious intolerance. The visual expression of this may be the flag-clad combatants who take to the streets to announce their political allegiances, displaying a fervour and belief long since lost by the footballing foot soldiers of the Tartan Army, but in quiet corners, small bedrooms and whispered conversations, Scotland is proving itself to be capable of radical thinking, a seed bed for creatives, dreamers and idealists.

The prize remains undefined and Scotland does not know is what it looks like. It is hard, if not impossible, to predict where and what Scotland will be in a generation’s time. The political tectonic plates are shifting and individuals and communities will be forced to adapt and survive in new and as yet unseen realities. With the game still very much in progress and the final result to be determined in remains an exciting time to be in Scotland, after all.

Document Scotland’s A Contested Land will have its first showing at the Martin Parr Foundation in Bristol, England from 16th January until 16th March, 2019, before further showings in Scotland at Perth, Dunoon and Inverness.

Martin Parr Foundation
316 Paintworks
Arnos Vale
Bristol
BS4 3AR

Gallery opening times
Wed to Sat, 11am – 6pm
Sun to Tue, closed

Free entry to all exhibitions.

 

Touring exhibition dates

– Salon event at Stills Gallery, Edinburgh. February 2019. Date to be confirmed.
Perth Art Gallery and Museum – 20th April 2019 – 23rd June 2019.
Dunoon Burgh Hall – 20th July 2019 – 18th August 2019. Preview on 19th July.
FLOW Photofest, Inverness, September 2019.
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