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.

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.

 

Did you like this? Share it:

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.
Did you like this? Share it:

@EverydayClimateChange

@EverydayClimateChange photographic collective are bringing their images off the popular Instagram feed and onto the gallery walls of Trongate 103, Glasgow, this month, in an exhibition running from 4th Oct – 4th November. The exhibition is an off-site show from Street Level Photoworks. An opening reception will be held on 4th October, from 6pm- 7:30pm, with an introductory talk by Document Scotland’s Jeremy Sutton-Hibbert who produced the show.

 

The @EverydayClimateChange group, which was founded by Tokyo-based photographer James Whitlow Delano with co-founding member Glasgow-based photographer Jeremy Sutton-Hibbert, National Geographic contributing photographer Ed Kashi and others, depicts the causes, effects and solutions to climate change and is contributed to by 20 photographers on 6 different continents.

This exhibition brings the photographic works of 14 of the contributors off the renowned Instagram feed onto the gallery walls. The exhibition 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).

The exhibition, curated by Jeremy Sutton-Hibbert, features as part of the Season For Change, a UK-wide programme of cultural responses celebrating the environment and inspiring urgent action on climate change. It commenced on 1st June and runs until 16 December, coinciding with the COP24 UN Climate Negotiations in Katowice, Poland.

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

Did you like this? Share it:

Nelson Mandela, Glasgow 1993.

Jeremy Sutton-Hibbert’s images shot during the visit of Nelson Mandela to Glasgow in 1993, go on display this month at the City Chambers in Glasgow. Coinciding with Black History Month, the small exhibition has been made possible with the support of Street Level Photoworks, and depicts the events of the visit of Mandela to Glasgow to receive the Freedom of the City.

Exhibition runs at:
Glasgow City Chambers
82 George St, Glasgow G2 1DU
Mon – Fri, 8.30am – 5pm

 

Crowds await Nelson Mandela, Glasgow, 1993 – © Jeremy Sutton-Hibbert 1993.

 

From Street Level Photoworks:

2018 marks 100 years since the birth of Nelson Mandela. Known and loved around the world for his commitment to peace, negotiation and reconciliation, Nelson Rolihlahla Mandela was South Africa’s first democratically elected president (1994 to 1999). Mandela was an anti-apartheid revolutionary and political leader, as well as a philanthropist with an abiding love for children. In 1963 he was imprisoned by the Apartheid government of South Africa and was sentenced – with seven others – to life imprisonment in 1964.

Glasgow was the first city in the world to honour Nelson Mandela with the Freedom of the City, in 1981, nine years before he was released from prison. In a bold move to send a message to the then apartheid regime, the Glasgow City Council also renamed St George’s Place as Nelson Mandela Place in 1986. This was seen as highly significant as this then became the address of the South African Consulate, which was based there.

In October 1993, two years after his release from prison, Mandela came to Glasgow, where he was described by the then council leader Jean McFadden as “a symbol of the fight for equality and freedom across the world”. The event famously saw Mandela dancing on stage in George Square, to the delight of the crowd of 10,000 people who had come to see him.’

Award winning Scotland-based editorial photographer Jeremy Sutton-Hibbert was one of the photographers there that day, and these images are a record of that event. Previously published as a pocketbook by Cafe Royal Books, this is the first time these images have been seen in Glasgow.

In his acceptance speech in October 1993, Nelson Mandela said of Glasgow, “…It is a privilege to be a guest of this great City of Glasgow. It will always enjoy a distinguished place in the records of the international campaign against apartheid.

The people of Glasgow in 1981 were the first in the world to confer on me the Freedom of the City at a time when I and my comrades in the ANC were imprisoned on Robben Island serving life sentences, which in apartheid South Africa then meant imprisonment until death.

Whilst we were physically denied our Freedom in the country of our birth, a City, 6,000 miles away, and as renowned as Glasgow, refused to accept the legitimacy of the apartheid system, and declared us to be free. And in a real sense we were free, because however cruel the treatment meted out on us in prison, we never lost sight of the vision of a new South Africa as enshrined in our Freedom Charter. The City of Glasgow in granting us the Freedom of the City also took upon itself a very special obligation. It resolved to do everything possible to secure our freedom from the prisons of apartheid. It took up our plight in Britain and internationally. For example, the following year the Lord Provost co-ordinated a Declaration signed by over a thousand Mayors from 56 countries across the world which called for our freedom. Then in 1985 it joined with over 100 British local authorities in petitioning the then Prime Minister Margaret Thatcher, to press for my release. Such initiatives were thankfully successful…”

 

Did you like this? Share it:

Oot Tae Play

The British Journal of Photography recently announced their shortlist of photographers for their Portrait of Britain photo project, and we’re delighted that photographers and work from Scotland made the cut. Jeremy Sutton-Hibbert‘s portrait from Langholm Common Riding (from his Unsullied and Untarnished book of the Scottish Common Ridings) was selected, as are two portraits be Edinburgh-based Euan Myles (and here), and also a portrait (first image below) by Ilisa Stack from her series ‘Out tae Play’. We contacted Ilisa to find out more about her work and project…

 

Shortlisted image of Michaela, selected from 13,000 entries for the Portrait of Britain Award. © 2018 Ilisa Stack, all rights reserved.

 

Oot Tae Play, by Ilisa Stack.

I have always had a love and desire for photography from the days as a little girl who used to watch her dad developing film in the darkroom to taking everyday snap shots of my own family through the years, however it was not until 2014 when I was accepted into the Hnd photography course at City of Glasgow College that my photography exploration really began. I completed my Hnd and went on to study for the BA (Hons) Degree in which I recently graduated from in June.

The four years studying at COCG really was a joy. The first fast paced years of the course aided my photographic skill set tremendously. With all the given briefs completed I could really start to see the documentary path that my photography was leading towards. I could not wait to start the degree years for that path to develop further with the gentle guidance and support of the hugely talented lecturers at City, as well as inspiring talks from photographers such as Kirsty MacKay and Magnum photographer Martin Parr. The college really has such an atmosphere surrounding it and proved to me to be a wonderful creative hub.

The origins for the Oot tae Play series actually started when I was visiting Hartlepool in 2016 researching Daniel Meadows inspiring book ‘The Bus’. I was drawn to reading about Mary Clark one of his the subjects. Mary’s character reminded me of many of the great Glasgow women I knew. I walked along the beach at Hartlepool and took a few shots; however the area was very quiet except for my boys playing with an old rope they had found. I also came across a concrete play area at the sea-front and as I looked through my viewfinder, an eerie feeling came over me. Later that night everything made sense. My children walked in front of me into the entertainment area of the holiday park we had been staying, to the left of them was a brightly lit over the top stall set with toys galore and directly in front of them was a dance floor and stage full with children laughing and playing. At that very moment I realised it was children that had been vacant from the beaches and play areas. That was the point ‘Oot tae Play’ was created.
I wanted to create work that involved children and their environment, i realised that I could work on a project in my own city which was a revelation for me as a lot of my work consisted of projects that incurred many miles.

 

 

G32 | Age 3 | Scooter | 2018. © Ilisa Stack 2018, all rights reserved. 

 

I advertised the project on social media platforms with a poster that I had created to inform parents and carers who may be interested in their children taking part in the series to show the requirements of the project. The online presence was extremely successful and I had instant numerous responses.
At the start of the project I knew some of the children or I knew their parents, as the series has progressed that has changed and it is wonderful that people now are approaching me and wanting their children to be a part of the ‘Oot tae Play’ kids.
I choose to approach photographing the series in this way as I felt it is a modern way of communication. For me it is a very honest approach. I inform and explain to the parents before the shoot day that the proper releases will need to be signed.
The amazing children who have taken part so far all receive a high resolution image from the shoot, and a certificate to say that they have taken part in the ‘Oot tae Play’ series. It is much more than that though, they are now a community of children. One of the children Cari has now moved on to secondary school since I initially photographed her, her mum has informed me that she is planning on becoming a photographer. Michaela another child from the series’ mum informed me that she had went into school and enjoyed telling everyone about her shoot and showed the image to her class. Fifteen year old Declan’s mum was surprised that he wanted to take part in the project but because the shoot included what he does when he’s is outside, he was more than happy to take part and show his ball and team strip.

 

G32 | Age 6 | Scooter | 2018. © 2018 Ilisa Stack, all rights reserved.

 

The pictures tell a story of capturing a pictorial documentation of children today, how they play, what they play with and the outside environment in which they play. I would hope the images convey a positive representation of Glasgow children. (There also exists a short film of the children and their toys, from ‘Oot tae Play’)


Working on the series has outlined a huge shift in social change in regards to the photographic documentation of children today. These contemporary portraits may still be too current to show the lack of images being taken of children out with a studio environment or family online albums.

It is a tremendous privilege for me to photograph the ‘Oot tae Play’ children and the aim at the moment is to continue to build upon the body of work. It would be very interesting to see and photograph the children again in the future and is something for me to consider.

G73 | Age 14 | Snow | 2018. © 2018 Ilisa Stack, all rights reserved.

 

I receive inspiration from various sources and it is extremely difficult to narrow that down but in terms of photographers work though I have to mention Thomas Annan, Bert Hardy, Oscar Marzaroli, Edith Tudor-Heart, Tish Murtha to Joel Sternfeld, Jim Mortram, Daniel Meadows, Kirsty MacKay and painter Joan Eardly, to name but a few. Whilst being a student you learn a lot of skills and one of those skills is confidence. It for me was really daunting to put work out in the world for others to see other than that of my lecturers. Credit for me entering the BJP really goes to Aileen Campbell my then lecturer. I was given so much encouragement to enter the competition. I am absolutely delighted that my image has been shortlisted for the BJP and that I will have an image printed in the Portrait of Britain book. I cried many a happy tear when I found out. I am in awe of the images that have been shortlisted and it is just lovely to be included in that part of the process. It has been wonderful sharing the news with Michaela and finding how excited she is that her image will be printed in the book. We look forward to the outcome of the shortlist, yes it would be a dream to make the final 100, however I really don’t think Glasgow has enough tissue paper for the tears of joy I would shed if that was the outcome.

 

G44 | Age 5 | Dinosaur | 2018. © 2018 Ilisa Stack, all rights reserved.

 

At this moment in time I am still working on ‘Oot tae Play’. I am however researching background information for two new projects.
I have also been extremely fortunate to have been contacted in June of this year to take part in an exhibition at the aff Galerie in Berlin this October as part of the Monat der Fotografie OFF- Berlin by Malcolm Dickson, Gallery Director at Street Level Photoworks. I’ll be giving a short talk on the work in Berlin on Sunday 14th, which is the opening weekend of the Monat der Fotografie OFF Berlin, which the exhibition is a part of. I am so pleased to be presenting some of the ‘Oot tae Play’ series.

I am delighted that recently I have had an image shortlisted for the Scottish Portrait Awards. This again was wonderful news and as one of the 30 to have been shortlisted the image will be exhibited at Edinburgh Arts Club, Saturday 3 November to Saturday 1 December 2018 and then again at the Glasgow Art Club on Monday 21 January to Saturday 9 February 2019.

Did you like this? Share it:

Going with the Flow

The inaugural Flow Photography Festival took place across the Highlands and Islands of Scotland in September 2017 with the theme ‘People and Place’. The festival launched at Eden Court Theatre in Inverness, with several other galleries hosting work by internationally-acclaimed and award-winning photographers from Iceland, Finland, Scotland and Norway, icluding work by three Document Scotland photographers. In addition, the festival staged a series of concurrent events throughout the North of Scotland and the larger collections have just begun a tour of other venues. The man behind the festival, Matt Sillars, looks back on their first festival foray…

“As I write the main exhibitions from the inaugural photography festival in the Highlands and Islands are all bubble wrapped and packed in storage. However, An Lanntair in Stornoway, St Fergus Gallery in Wick and Timespan Gallery in Helmsdale all have shows with longer finish dates, so there is plenty to see well into November. The festival has been a real success with a set of  comment books burgeoning with positivity!

After two years planning the FLOW Photofest launched in September with a host of exhibitions from some of the leading photographers in the North including work by three Document Scotland members. Work from ‘When Saturday Comes’ by Colin McPherson and ‘North Sea Fishing’ by Jeremy Sutton-Hibbert was on show along with the St Andrews University exhibit ‘Scotland through the Lens – 175 years of documentary photography’ featuring work by Sophie Gerrard. It was a real pleasure being able to show school groups the work of Sophie and discuss the photography of Franki Raffles, who was also in the 175 years show, in the context of contemporary documentary work.

Designed as a biennial destination festival, showing in galleries and spaces across the Highlands and Islands, FLOW has set itself the task of showcasing challenging and exciting photography by photographers ‘from the North’, ‘based in the North’ or ‘making work in the North’.  We featured work by 19 photographers – Ragnar Axelsson and Sigga Ella (Iceland), Iiu Susiraja  (Finland), Andrea Gjestvang and Tonje Boe Birkland (Norway), Dominique Gais (France), Mat Hay, Kieran Dodds, Alex Boyd, Chris Friel, Evija Laiviņa, Tom Kidd, Robin Gilanders, Ross Gilmore, Colin McPherson, Jeremey Sutton-Hibbert, Mary Overmeer, Nicky Bird, Kevin Percival (all Scotland) and the St Andrews University Special Collection exhibit. We also featured the work of a rediscovered Inverness photographer from the 1930s, Andrew Paterson.

Talks and workshops featured Alicia Bruce and the Paterson Collection while the over subscribed portfolio review sessions were conducted by Malcolm Dickson. Katherine Parhar and James Pfaff. These were very well received and we hope will be a regular feature. A series of films on Photographers were shown and photogravure workshops were held by Highland Print Studio. This was all finished off by a ‘small walls trail’ featuring local shops and unusual walls.

Most importantly the festival organisation had a real collegiate feel with everyone involved coming on board with enthusiasm and commitment, from the Highland Council, who saw real merit in the ‘cityness’ of such a festival to the photographers who all contributed their work, at times, in the case of Andrea and Kieran, making new work for our festival.

We are now in the process of developing the positive links established and working towards a ‘curated’ gallery wall dedicated to photography in Inverness.  Quite soon there will be the opening of a Community Darkroom in Inverness and this, allied to the exhibition space, will see the profile of photography becoming more established in the North.

Our next official outing will be September 2019 – across the Highlands and Islands. Please come and see what we will have on show!”

Title image: The Faroe Islands. Photograph © Andrea Gjestvang, 2017 all rights reserved.

The Andrew Paterson Collection at Inverness College UHI.

 

Sigga Ella Title Wall at IMAG.

 

North Sea Fishing. © Jeremy Sutton-Hibbert, 2017 all rights reserved.

 

Ragnar Axelsson and Tom Kidd Eden Court Theatre, Inverness.

 

Adam, Heather Burn. © Matt Hay, 2017 all rights reserved.

 

Kieran Dodds with Gingers at IMAG.

 

Evija Laivina’s Beauty Warriors at Eden Court Theatre, Inverness.

 

‘Fraserburgh, 2010’. © Colin McPherson, 2017 all rightsreserved.

 

Did you like this? Share it:

Behind the Scenes, University of St Andrews

Recently as a group we were delighted to be invited to spend time at the University of St Andrews, taking a look at what goes on behind the scenes, seeing the little moments which make the historic educational establishment run on a daily basis. From gardeners to waiting staff, from members of staff to the choirs and students themselves, little glimpses of  daily life are being captured building into a larger set which will in time we hope be exhibited or published. But for now the chronicling of the corridors of education in St Andrews continues…

 

Heather Bremner cleans Younger Hall, prior to the installation ceremony of Professor Sally Mapstone as Principal and Vice-Chancellor – Behind the scenes at the University of St. Andrews. ©Jeremy Sutton-Hibbert 2016, all rights reserved.

 

Preparations for a ceremonial dinner at Lower College Hall – Behind the scenes at the University of St. Andrews. ©Jeremy Sutton-Hibbert 2016, all rights reserved.

 

The ceremonial Macebearers take the ancient and valuable mace’s from the safe, in the Vestry of St Salvator’s Chapel, prior to the installation ceremony of Professor Sally Mapstone as Principal and Vice-Chancellor – Behind the scenes at the University of St. Andrews. ©Jeremy Sutton-Hibbert 2016, all rights reserved.

 

Students having gowns adjusted after coming off stage at the Younger Hall at the University of St. Andrews, on graduation day, 30th November, 2016. ©Colin McPherson, 2016, all rights reserved.

 

Bell ringers at St. Salvator’s Chapel at the University of St. Andrews, on graduation day, 30th November, 2016. ©Colin McPherson, 2016, all rights reserved.

 

Newly graduated students at St. Salvator’s Chapel grounds at the University of St. Andrews, on graduation day, 30th November, 2016. ©Colin McPherson, 2016, all rights reserved.

 

Adam Taylor and his team of gardeners from the Estates, Grounds and Recycling Services carry out some spring time planting in the garden at Edgecliff House. This year they have planted over 11,000 tulip bulbs and 2000 crocus bulbs around the campus. Behind the scenes at The University of St Andrews, 30th March 2017. ©Sophie Gerrard 2017, all rights reserved.

 

Dame Anne Pringle, Senior Governor of The University of St Andrews University, April 2017. Photographed at University House – the Principle’s Residence at the University of St Andrews.
For the first time in the history of The University of St Andrews four of the senior positions are now held by women (Principal, Senior Governor, Rector and Student President). ©Sophie Gerrard 2017, all rights reserved.

 

Charlotte Andrew, President of the Students’ Association, St Andrews University, April 2017. Photographed at University House – the Principle’s Residence at the University of St Andrews.
For the first time in the history of The University of St Andrews four of the senior positions are now held by women (Principal, Senior Governor, Rector and Student President). ©Sophie Gerrard 2017, all rights reserved.

 

 

Did you like this? Share it:

Here We Are, by Burberry

Here We Are, an exhibition of over 200 photographs of British documentary work by 30 photographers, including work from Jeremy Sutton-Hibbert’s North Sea Fishing series, has gone on show in London, until 1st October. The show is curated by Christopher Bailey, President and Chief Creative Officer, Burberry; Lucy Kumara Moore, writer, curator and Director of Claire de Rouen; and co-curated by photographer Alasdair McLellan.

 

Burberry ‘Here We Are’ British documentary photography show at Old Sessions House, in London.

 

HERE WE ARE – EXHIBITION OVERVIEW
A major photography exhibition exploring the British way of life and character on display at Burberry’s new show venue, Old Sessions House.
* ‘Here We Are’ will bring together the work of over 30 of the 20th century’s most celebrated social and documentary photographers, from 18 September – 1 October 2017.

 

‘Here We Are’, by Burberry. Credit: Burberry. 

 

* The exhibition will be displayed over three floors of Burberry’s new show venue Old Sessions House in Clerkenwell, which will open to the public for the first time since its restoration.
* The exhibition will feature over 200 works and will be divided into themes which reflect different aspects of the British way of life.

* The exhibition will showcase important bodies of work by individual photographers as discrete, monographic presentations, alongside the thematic displays.

* Inspired by the spirit captured in British social portraiture, Burberry’s September collection for men and women will be presented at Old Sessions House on Saturday 16 September at 7pm.
Exhibiting photographers – ‘Here We Are’ will feature over 200 works by over 30 photographers including Alasdair McLellan, Andy Sewell, Armet Francis, Bill Brandt, Brian Griffin, Charlie Phillips, Chris Steele-Perkins, Colin Jones, Colin O’Brien, Dafydd Jones, Daniel Meadows, Homer Sykes, Ian Berry, Ian Macdonald, Ian Tyas, Jane Bown, Janette Beckman, Jeremy Sutton-Hibbert, Jo Spence, Karen Knorr, Ken Russell, Mark Power, Martin Parr, Olivier Richon, Peter Marlow, Roger Mayne, Shirley Baker, Stuart Franklin, Tessa Traeger, Tom Wood and Tony Ray-Jones.

More information and further interviews and work from the show can be explored via the Burberry App for smartphones.

Jeremy Sutton-Hibbert being interviewed about his work, at the Burberry ‘Here We Are’ British documentary photography show at Old Sessions House, in London.

‘Here We Are’
18 September – 1 October 2017
10am-9pm daily
Old Sessions House, 22 Clerkenwell Green
Free entry

PUBLIC PROGRAMMING & EVENTS
In addition to ‘Here We Are’, we will run a varied programme of events and activities and will include temporary versions of Burberry’s all-day café Thomas’s and a Claire De Rouen book shop.
We are endeavoring to curate a programme of events in collaboration with exhibiting photographers and key creative partners which will respond to key themes of the exhibition. Drawing upon the specific expertise of each partner, the programme will include a rich and varied selection of talks, tours, workshops, conversations and book signings. Visitors will be able to sign up to the public programmes and events via Burberry.com.

OLD SESSIONS HOUSE
This September, Burberry’s show will be taking place at a new venue, Old Sessions House in Clerkenwell. The space will be opening its doors to the public for the first time since its restoration. As well as being the home to the ‘Here We Are’ exhibition, the venue will run a programme of events and activities and will include temporary versions of Burberry’s all-day café Thomas’s and a Claire de Rouen bookshop. Old Sessions House will be open daily, from 10am–9pm, 18 September – 1 October 2017. Old Sessions House is an 18th-century Grade II* listed building, for which construction started in 1779. It opened for use in 1782 as Middlesex Sessions House and was once the largest courthouse in England. With an architecture that has attracted attention from artists and topographers over the years, the building is Palladian in style, with a facade constructed in Portland stone and an interior featuring a grand coffered dome at its centre. Visit www.theoldsessionshouse.com for further information.

 

 

Did you like this? Share it:

When We Were Young

We’re delighted that the next photography exhibition at the Scottish National Portrait Gallery, ‘When We Were Young’, will include work from the Scottish photography archive by Jeremy Sutton-Hibbert. Included in the group show will be Jeremy’s images of Roma children, photographed in Sintesti Roma camp in Romania in the early 1990’s, part of his multi-year project photographing the Roma settlement on the outskirts of Bucharest, ‘Satra, The Roma of Sintesti.

 

WHEN WE WERE YOUNG:
PHOTOGRAPHS OF CHILDHOOD FROM THE
NATIONAL GALLERIES OF SCOTLAND
14 October 2017 – 15 April 2018
Scottish National Portrait Gallery, 1 Queen Street, Edinburgh EH2 1JD
Admission FREE
nationalgalleries.org | 0131 624 6200
#WhenWeWereYoung

Part of Photography Scotland’s 2017 Season of Photography

The magic and wonder of childhood will be the subject of a new exhibition of photographs at the Scottish National Portrait Gallery (SNPG) this autumn. When We Were Young will delve into the rich collection of the National Galleries of Scotland to explore how the lives of children have fascinated photographers from the earliest days of the medium to the present. More than 100 images, which capture children at play, at work, at school and at home will reveal how the experience of being a child, and the ways in which they have been represented, have changed radically in the past 175 years.

The photographs not only reveal the shifting attitudes towards children and their representation, but also show the evolution of the photographic processes from early daguerreotypes to contemporary digital prints.

Opening on 14 October 2017 at the SNPG, When We Were Young is the second in a series of thematic exhibitions being held to inspire a new appreciation for this extraordinary art form.

One of the earliest works in the collection is a daguerreotype of a family photographed by James Howie (1791-1858). Having trained as an artist, Howie was known as a portrait and animal painter; he switched to photography and established the first professional photographic studio in Edinburgh in 1841 (only two years after photography was first introduced). His customers had to climb multiple flights of stairs, then use a ladder to access a skylight leading to the roof of his outdoor studio, where they would then perch several floors above a bustling Princes Street below and were told to “sit as still as death”.

Some photographers’ directions for children were more amenable. Julia Margaret Cameron’s literary and religious evocations of the 1860s brought an imaginative element to the depiction of childhood. In her portrait of Kate and Elizabeth Keown, titled The Red and White Roses, the two sisters are shown close up with one clutching a sprig of flowers, the other has hands clasped as if in prayer. The work was not intended as simply a portrait of the photographer’s neighbours on the Isle of Wight, rather it was a metaphor for youthful beauty and the passage of time. Cameron has posed the girls to create an artistic scene and deliberately records them in soft focus so as to create a dreamlike, ethereal quality in the photograph.

Some of the photographs show young children at work or in a work environment—apprentices at ship yards, fisher girls on the beach, or children working family farms and crofts, such as Larry Herman’s 1974 portrait of John Watson at work on a dairy farm in Ayrshire, and Paul Strand’s portrait of John Angus MacDonald on his family croft on South Uist in 1954. In the work of MacMahon of Aberdeen, the photographic studio captured three young boys at a fish processing plant in the town in order to provide a sense of proportion and scale for the giant cod that was being shipped overseas to Portugal. The picture shows the smallest boy in the middle of the composition, dwarfed by gargantuan fish.

From uniformed school pictures to class outings and lessons, another selection of photographs shows children within an educational context. Among the works on display is a series of images by Edith Tudor-Hart (1908–1973), whose intimate pictures of teachers and pupils from Camphill School, Aberdeen, were originally commissioned for a magazine essay in 1949. Tudor-Hart explored the teaching philosophy of the institution which is displayed in the tenderness of the work that addresses the school’s ethos of providing support and education for children with developmental disabilities, mental health problems and other special needs.

The exhibition also explores the notion of play, a subject synonymous with childhood. From portraits of Victorian children with their dolls and books to explorations of today’s virtual playground, the photographs reveal that while children may have vastly different toys from the past compared with the present day, there is still the desire to escape into a world of make-believe and imagination. Many photographs reveal the street playgrounds of the 1950s and 1960s, such as Roger Mayne’s Children playing on a lorry, Glasgow (1958). Like so many of Mayne’s highly contrasting, black and white photographs, it captures perfectly the children’s vitality and abandon in a simpler time, whereas Wendy McMurdo explores the state of modern play which often is situated both in the real and virtual worlds. Inspired by the recent phenomenon of Pokémon GO, which involved young children searching out computer-generated characters inhabiting physical sites and landscapes, McMurdo photographed a number of children and utilised digital technology to obscure their faces and create a splintered portrait—symbolic of their fractured play between two worlds.

When We Were Young is also a chance to see, for the very first time, new works recently acquired by the Gallery from artists including; Wendy McMurdo, Glasgow-based Margaret Mitchell and leading South African photographer Pieter Hugo. The carefully selected photographs, all from the national collection, celebrate the notion of childhood as recorded by the camera since the 1840s with a delightful and engaging selection and coinciding with the Year of the Young Person in 2018.

“This is the second of our thematic exhibitions drawn from the photography collection here at the National Galleries of Scotland. This fun and engaging display of childhood from all over the world will feature iconic images alongside less well known works, old favourites and new acquisitions—essentially something for everyone, no matter what your age!”

Anne Lyden, International Photography Curator, Scottish National Portrait Gallery.

Part of Photography Scotland’s, Season of Photography 2017, a lively series of exhibitions and events taking place across Scotland from September to November 2017.

Part of Luminate, Scotland’s creative ageing festival
Luminate runs a diverse programme of creative events and activities throughout the year, including a nationwide festival of arts and ageing. Luminate’s sixth festival takes place 1 – 31 October 2017.

About the Robert Mapplethorpe Photography Gallery
When We Were Young: Photographs of Childhood from the National Galleries of Scotland is being shown in the Robert Mapplethorpe Photography Gallery and is part of a continuing series of photographic exhibitions (including Lee Miller & Picasso and Ponte City) in the Scottish National Portrait Gallery. The Robert Mapplethorpe Photography Gallery, named after the renowned American photographer, is supported by a very generous donation from The Robert Mapplethorpe Foundation. The gallery is the first purpose-built photography space of its kind in a major museum in Scotland.

Did you like this? Share it:

North Sea Fishing, in Wick.

 

North Sea Fishing, an exhibition of black and white photographs shot aboard seine net fishing boats in the early 1990s by Jeremy Sutton-Hibbert, continues its travels up the East coast of Scotland, and is presently showing in Wick’s St Fergus Gallery. Times and dates are in the above poster.

After Wick, it’ll travel onwards to Thurso Art Gallery which will be the last stop this year, and then in early 2018 North Sea Fishing will finish its tour at Beacon Arts centre in Greenock.

Did you like this? Share it:

FLOW PhotoFest

Document Scotland are very pleased to announce that we’re being represented in the inaugural Flow PhotoFestival, with two bodies of work. The new photography festival takes place across the Highlands of Scotland throughout September.

Colin McPherson’s images of Scottish football culture, the When Saturday Comes series, are on show at the Eden Court, Bishops Rd, Inverness, IV3 5SA. From 2nd – 30th Sept.

Colin’s work documents the ‘beautiful game’ and photographs of football culture in Scotland. Exploring the social process which surrounds football, McPherson immerses himself, and the viewer, into the rituals and practices of the fan as they embark on their weekly experience of football. Attention is given to the banal and the everyday details of the manner in which football is performed by the fan in the season. McPherson produces illuminating and insightful work on a ubiquitous aspect of contemporary Scottish culture. This work was previously shown at the Scottish National Portrait Gallery in Edinburgh.

 

‘Craigroyston, 2006’ from the series ‘When Saturday Comes’. ©Colin McPherson 2017, all rights reserved.

 

‘Alloa Athletic, 2010’ from the series ‘When Saturday Comes’. ©Colin McPherson 2017, all rights reserved.

 

Jeremy Sutton-Hibbert’s North Sea Fishing images are being exhibited at St. Fergus Gallery, Wick Library, Sinclair Terrace, Wick, KW1 5AB. The show runs from 9th Sept – 21st Oct.

High Life Highland are delighted to be hosting a striking exhibition of black and white images shot aboard the seine net fishing boats, Mairead and Argosy, in the North Sea in the 1990’s. These images, by Scottish documentary photographer Jeremy Sutton-Hibbert, capture the reality of the life at sea for the fishermen of Scotland’s North East fishing communities – the cramped conditions, the monotony, and the gruelling work in harsh conditions.

Aboard the ‘Argosy’ seine-net fishing boat, in the North Sea, Scotland, February 1995. Photograph by ©Jeremy Sutton-Hibbert 1995, all rights reserved.

 

Bill Smith secures the nets, aboard the ‘Argosy’ seine-net fishing boat in the North Sea, Scotland, February 1995. Photograph by ©Jeremy Sutton-Hibbert 1995, all rights reserved.

 

The FLOW PhotoFest runs through September at a variety of galleries and exhibition spaces throughout the Highlands of Scotland.

 

 

Did you like this? Share it:

North Sea Fishing

We’re delighted to write that Jeremy Sutton-Hibbert currently has two bodies of work exhibiting with Shetland ArtsNorth Sea Fishing is showing until August 27th at the Bonhoga Gallery, and Klondykers is showing at the Mareel arts centre for the next year, both in the Shetland Isles.

 

About the North Sea Fishing exhibtion, Shetland Arts wrote: “Scottish documentary photographer Jeremy Sutton-Hibbert captured the reality of the life at sea for the fishermen of Scotland’s North East fishing communities aboard the seine net fishing boats, Mairead and Argosy, in the North Sea in the 1990s.

These images serve as an important record of a period and style of fishing which is already passing into history, an insight into the working conditions for seine net fishermen, operating far from the safety and comforts of the shore. They capture the cramped conditions, monotony, and the grueling work in harsh conditions.

The North Sea – “a confused sea” as it was once described to me and, as one fishing trawler skipper told me, late at night, only the instrument panel lighting the bridge room, “the north sea, she’s a cruel mistress”.

With thanks to Ronnie Hughes and the crew of the Mairead, and Duncan Mackenzie and the crew of the Argosy, for their hospitality and generosity. All photographs shot in 1993 on the Mairead, and 1995 on the Argosy.

This is a touring exhibition hosted by the Scottish Fisheries Museum in Anstruther. The production has been made possible thanks to the generous sponsorship of several organisations including Street Level Photoworks in Glasgow, Scottish Fishermen’s Trust, Scottish Fishermen’s Organisation and Loxley Colour Photo Lab.”

The Klondykers work (2 images above), shot in 1994, and published as a zine by Cafe Royal Books, looks at the period in Shetland’s history when fish processing ships from the Eastern Bloc countries would come to Shetland waters buying up catches of mackerel and herring from Scottish fisheries. The Klondykers work was written about by Shetland News here on the publication of the Cafe Royal Books. Very limited numbers of the Klondykers book will be on sale fro Shetland Arts during the run of the exhibition.

Speaking to the Shetland News, Jeremy says of his time photographing in Shetland “It was the period when communism had collapsed and Eastern Europe was opening up. To come to Shetland to see street signs in Cyrillic and people in all these foreign accents walking around – it was a fascinating time.

I remember driving out to the garbage dump. A couple of ships had been impounded in the port and hadn’t been allowed back to sea, and the company weren’t paying the crews any wages.

You had all these guys in the Lerwick garbage dump looking for things they could refurbish to take home, or things they could sell.

And I remember Shetlanders driving up and giving them packets of cigarettes, or bags of clothes and things. It was interesting to see that Shetlanders were rallying around to help them.”

North Sea Fishing, 8th July – 27th August, Bonhoga Gallery, Weisdale Mill, Weisdale ZE2 9LW.

Klondykers, for the next year, at Mareel, North Ness,, Lerwick, Shetland ZE1 0WQ.

The North Sea Fishing exhibition, on completion of its run in Shetland, will travel onwards to:

Wick, St Fergus Gallery, 9th September – 21st October.

Thurso Art Gallery, 28th October – 9th December.

Greenock, Beacon Arts Centre, 6th January 2018 – 24th February 2018.

Did you like this? Share it: