Seedbed – new work in progress

Document Scotland was delighted to receive support recently from an organisation called Seedbed, which supports projects with start-up funding. The support has allowed two of our photographers, Sarah Amy Fishlock and Sophie Gerrard to each undertake a small project looking at different aspects of land use in Scotland, with a view to developing the work into a broader and wider series of Document Scotland projects over the coming months.

Sarah’s project focuses on community gardening in Glasgow, exploring how urban gardeners engage with the land around them and the social and cultural effects of green spaces in residential areas, while Sophie’s work introduces us to a number of young farmers based in and around Edinburgh and The Lothians, exploring their unique landscapes and every day working lives as well as the financial, logistical and industrial challenges of working in an ageing industry.

Document Scotland are extremely grateful to Seedbed for their support and look forward to sharing the completed projects.

© Sarah Amy Fishlock 2017, all rights reserved

 

© Sarah Amy Fishlock 2017, all rights reserved

 

Cameron, East Lothian © Sophie Gerrard 2017, all rights reserved

 

East Lothian © Sophie Gerrard 2017, all rights reserved

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Last chance to see

Photographing conflict and post-conflict arenas is one of the most interesting sub-genres of documentary photography.

There are many different approaches which make for outstanding viewing. From the monumental landscapes of Donovan Wylie and Simon Norfolk, depicting the theatre sets of war to the late Tim Hetherington’s claustrophobic and intimate moments with the dramatis personae, there is barely a facet of modern conflict which is not explored and exploited by photographers today.

In ‘Legacy’ Scottish artist Roderick Buchanan focuses on post-Troubles Northern Ireland and uses two Scottish flute bands to demonstrate the current and historical links between the peoples of the two territories. Using simple, striking portraits on the one hand and film footage of re-enactment scenes and marches on the other, Buchanan produces a tableau which invites us to examine our own links with the Troubles and our attitude to history, conflict and memory.

As Buchanan states: “My proposal was to make a portrait with grass-roots activists who had lived through the Troubles, processed the Good Friday Agreement meant for them, and who continued to march and stand up for what they believe. As both bands say about themselves, ‘We’re still here’.”

Although chilling to look at, there is something almost charming about the men depicted. The faces are earnest, determined, hard and unforgiving, but there is something almost comedic about them too. These are men you could meet anywhere in Scottish society and you wouldn’t presume that they could be so passionate about a cause which most people regard as a hangover of a bygone age of pugilism and insanity. But these are the men (and boys) of the Parkhead Republican Flute Band and on the other side the Black Skull Corps of Fife and Drum and they mean business. You walk away from the portraits casting a glance back to make sure they aren’t actually following you.

‘Legacy’ by Roderick Buchanan is on at the Scottish National Portrait Gallery, Edinburgh until 16th September 2012. Admission free.

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