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:

We Feed The World

Sophie Gerrard’s images from the Western Isles are featured in the exhibition We Feed The World from The Gaia Foundation at The Bargehouse Gallery, Oxo Tower, London until 21st October.

Angus MacDonald moves his Highland Cattle across the bay towards his croft at low tide, Ardbhan, North Uist, Outer Hebrides, October 2017 image copyright © Sophie Gerrard 2018 all rights reserved

 

Ena, in her croft, Ardbhan, North Uist, Outer Hebrides, October 2017 image copyright © Sophie Gerrard 2018 all rights reserved

 

Curated by Cheryl Newman and bringing together an international team of world-renowned photographers, farming communities, farmers’ movements and civil society groups, We Feed the World is a unique and far-reaching communications initiative led by Gaia. It is designed to demonstrate the vital role of agroecology and food sovereignty for climate change resilience. Through powerful imagery and amazing stories of small scale, family farmers and local communities, We Feed the World will take this message out to the wider public.

Over the last two years, 40 award winning photographers including Rankin, Martin Parr, Pieter Hugo and Gabriela Iturbide, have documented the lives of nearly 50 farming communities across six continents. The aim of these iconic images is to celebrate the work of the small, family farmers who provide over 70% of the world’s food in ecologically and socially just ways, and to highlight the challenges they currently face. By putting the spotlight on these farmers and their diverse cultures and landscapes, we counter the image of the poor, struggling farmer with a truer picture that celebrates their knowledge, resilience and overwhelming success.

The images were featured in The Telegraph article Ideal Husbandry with words by Lucy Davies.

 

We Feed the World is open to the public at the Bargehouse Gallery on London’s Southbank from October 12th – 21st 2018, from 11 am to 6 pm daily. An inspiring programme of talks, workshops and films from farmers and communities from the food sovereignty movement, international activists, photographers and business leaders will run alongside at the Gallery and other venues.

Did you like this? Share it:

10 From The North | 10 bho Tuath – an An Lanntair exhibition

Did you like this? Share it:

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

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:

Sarah Amy Fishlock joins Document Scotland

Document Scotland begins a new era in our short and full life. We are delighted to announce that long-time friend and occasional collaborator, Glasgow-based photographer Sarah Amy Fishlock has joined us, and together we look forward to joining our energies and expertise, and building on all that Document Scotland has so far achieved in promoting documentary photography in and about Scotland.

 

We welcome photographer Sarah Amy Fishlock to the Document Scotland team.

 

Sophie Gerrard spoke with Sarah about how she got started in photography, her projects, some of her influences and what’s next.

From the series Middlemen © Sarah Amy Fishlock 2011 all rights reserved.

SG: So welcome to Document Scotland Sarah, we’re looking forward to working with you – perhaps we can start with you telling us a bit about yourself…

SAF: I was born and brought up in Glasgow. When I left school I did a degree in Literary Studies at Glasgow University – it was originally going to be an Honours English Literature degree, but I cut it short when I realised that I wanted to go to art school. My father, whom I was close to and who passed his love of visual art on to me, passed away a year after I left school. I remember being in Venice with my mother soon afterwards, and taking a photo with my little point and shoot camera – a view of a corner building, from a bridge. The photo is pretty ordinary but I remember the moment really clearly as the instant I realised I wanted to do something creative, although I wasn’t quite sure what that would be.

Even though it was photography that sparked my interest in the creative industries, I started studying Visual Communication (now Communication Design) at Glasgow School of Art when I was 21, originally intending to specialise in Graphic Design. After taking a short introduction to black and white photography course in 2nd year (my first time in a darkroom), I fell in love with the process of photography. My boyfriend at the time, though not a professional photographer, was really interested in photography, and would buy me various cheap cameras for birthdays and christmases – Olympus Trip, Holga, Fuji Instax – so my first forays into photography were really experimental. I fell in love with the way my everyday surroundings could become beautiful through photography. I spent lots of time in the darkroom during my degree – now, I can’t even remember what I was printing, but I remember it being a really meditative experience, and crucial in helping me to form ideas of what a future career could look like.

saf_middlemen_2

From the series Middlemen © Sarah Amy Fishlock 2011 all rights reserved.

SG: It sounds like your starting point was quite instinctive – tell us a little about how you developed your passion and interest …

SAF: During my degree, the artists I loved were those who made the ordinary extraordinary. I was fascinated by images of the American south – Robert Frank, William Eggleston, Stephen Shore. I still love those photographers, but I realised during my studies that my own style of photography would be more intimate, the stories I tell more focused. The Iraqi interpreters that I worked with during Middlemen, my degree project, have been through trauma that most people can’t imagine, but I wanted to tell the story of their quiet persistence, their day-to-day challenges and triumphs – a story about what happens after conflict, when people must rebuild their lives. One of the primary influences on this work was KayLynn Deveney’s The Day to Day Life of Albert Hastings – the simple story of the artist’s friendship with an elderly widower, illuminated by Deveney’s lyrical, painterly imagery.

Today, two of my main influences are Sian Davey and Bertien van Manen – two artists who produce slow, quiet, unhurried projects, in which the viewer is given an intimate glimpse into other worlds.

saf_amyeahren_1

From the series Amye & Ahren © Sarah Amy Fishlock 2012 all rights reserved.

SG: We’ve enjoyed your work such as Middlemen and Amye & Ahren and featured them in Document Scotland publications and salons, you’ve also created Goose Flesh photography zine. You’re clearly a prolific and driven individual, what motivates you?

SAF: For me, photography is a way of making contact with the world. It was hard to get Middlemen started – it look a long time and a lot of persistence to find the men, but once I did, I began to understand how humbling and illuminating it can be to help someone tell their story. While discussing a new project with a friend recently, something he said struck me – ‘the best projects are the most difficult’. For me, that’s definitely true – I want my work to challenge not only the viewer but myself, as a photographer and as a human being – to think differently, to change perspective, to reconsider opinions.

From the series Middlemen © Sarah Amy Fishlock 2013 all rights reserved.

From the series Amye & Ahren © Sarah Amy Fishlock 2012 all rights reserved.

I always begin by researching my subject: this is really important when working with a different culture, as during Middlemen, or with disabilities, like Amye & Ahren. I read around the subject and look at other artists’ work for inspiration. I’ve learned to always make work about subjects that interest me, even if they don’t seem ‘photograph-able’ to begin with – there’s always a way in. I then look for ways to access the people I want to work with – this might be through a charity, like the Scottish Middle Eastern Council who helped me meet the middlemen, or a mutual friend, who introduced me to Amye. I treat my projects as collaborations between myself and the subject – their comfort always comes first. It’s important to me that when I show my work, the people I’ve photographed are happy with and proud of the result.

In 2013 I started Goose Flesh with a small grant from Ideastap as a way of showcasing work by emerging and established artists from, living in, or connected to Glasgow, in a compact, accessible, affordable form. So far, five issues of the zine have been produced, alongside exhibitions in a range of venues around Glasgow, from Trongate 103 to the Arches. My interest in zines continued during my residency at the Citizens Theatre (2013-14 ), for which I produced two zines documenting my projects – it was a great way to bring the work back to the community that inspired it. I now teach zine workshops to university students and community groups around Scotland. This is something I’d like to continue and develop in 2017, perhaps alongside one of my photography projects. Goose Flesh is on hiatus at the moment while I develop my own photography projects – but it’ll definitely be back at some point in the future!

From the series Five Lands © Sarah Amy Fishlock 2016 all rights reserved.

From the series Five Lands © Sarah Amy Fishlock 2016 all rights reserved.

SG: Have you had any surprises along the way? Unexpected moments or challenges when making your work?

SAF: I am always humbled and pleasantly surprised by the people I photograph – the middlemen and their families welcomed me into their homes, gave me lots of delicious food, and shared their stories with me. Amye and Ahren did the same, despite the daily difficulties and challenges they face as a single parent family living with autism.

I’ve begun a few projects that have later fizzled out because I wasn’t sure exactly what the focus of the story should be. It’s important to identify precisely what interests you about a situation, even if you can’t envisage the outcome right at the beginning.

From the series Five Lands © Sarah Amy Fishlock 2014 all rights reserved.

From the series Five Lands © Sarah Amy Fishlock 2016 all rights reserved.

SG: We’ve seen that your new work Beloved Curve, has been selected for Focus Photography Festival in Mumbai, and you’ve just returned from exhibiting it with Uncertain States in East London – many congratulations.  What’s coming up for you next?

My most recent project, Beloved Curve, is a departure from my previous work – it’s a series of experimental double exposures looking at my relationship with my father and my experiences of mourning his loss. I have enjoyed immensely the process of working in a different way, and I’m really proud of what the project has achieved – as well as being exhibited in Glasgow and Edinburgh this year, it’s been featured by BBC News In Pictures, the Guardian and Fiona Rogers’ Firecracker. Thanks to this coverage, I’ve recieved great feedback from members of the public who’ve connected with the work – it’s important to me that my work has resonance beyond the photography community, and I’m delighted that this project has achieved that.

I want to continue looking at some of the themes Beloved Curve touches on, but with a documentary slant – getting back into telling other people’s stories. I’m currently researching what I hope will be a long term project about child bereavement in Glasgow, as well as some smaller documentary projects.

saf_belovedcurve2

From the series Beloved Curve © Sarah Amy Fishlock 2016 all rights reserved.

I’m really excited to have the opportunity to join Document Scotland at this stage in my career – I think it’s important to have other artists to collaborate with, and to support and be supported by. I feel passionately about getting Scotland’s photography seen, not only by people in the industry, but also making connections with those outside it. Document Scotland is making this happen, through the website, events and salons as well as exhibitions. It’s a very exciting time for photography in Scotland, and I’m really pleased to be a part of it.

SG: Thank you for joining us Sarah and for taking the time to do this interview Sarah, we’re excited to be working with you!

If you’d like to see more of Sarah’s work please …

Did you like this? Share it:

St Andrews Photography Festival & Salon

Celebrating 175 years of Scottish Photography in the home of Scottish Photography

We at Document Scotland are very pleased to involved with the first ever St Andrews Photography Festival 2016 where we will be presenting a Document Scotland public exhibition and a free Salon  afternoon of talks, multimedia and discussion about documentary photography in Scotland.

 

Document Scotland Exhibition

Featuring work by the four members of Document Scotland this exhibition is on at The Scores Railings – an outside street location open 24 hours – on the north side of St Andrews as you make your way to the Aquarium and the beach. The exhibition includes Drawn To The Land by Sophie Gerrard, North sea Fishing by Jeremy Sutton-Hibbert, A Fine Line by Colin McPherson and Scotia Nova by Stephen McLaren.

Screen shot 2016-07-25 at 18.02.56

 

Minty, Isle of Mull, 2014 © Sophie Gerrard all rights reserved

Minty, Isle of Mull, 2014 from the series ‘Drawn to The Land’ © Sophie Gerrard all rights reserved

 

Aboard the seine netter 'Argosy', on the North Sea, 1995. ©Jeremy Sutton-Hibbert, all rights reserved.

Aboard the seine netter ‘Argosy’, on the North Sea, 1995. ©Jeremy Sutton-Hibbert, all rights reserved.

 

'Site of the Battle of Redeswire, 2013' from 'A Fine Line - Exploring Scotland's Border with England' © Colin McPherson, 2013, all rights reserved.

‘Site of the Battle of Redeswire, 2013’ from the series ‘A Fine Line – Exploring Scotland’s Border with England’ © Colin McPherson, 2013, all rights reserved.

 

From the series 'Nova Scotia', Scotland. ©Stephen McLaren, 2012, all rights reserved.

From the series ‘Nova Scotia’, Scotland. © Stephen McLaren, 2012, all rights reserved.

 

Salon Event 28th August 2016 3-5pm

On Sunday August 28th, we’re hosting a Salon afternoon event to showcase some excellent Scottish photography and multimedia, to get people together and to toast the good times of the St Andrews Photography Festival.

The event will be held at Martyr’s Kirk Research Library, 80 North Street, St Andrews, KY16 9TR from 3pm – 5pm and is as ever completely FREE to attend.

We will be presenting some of our own work by the collective members Colin McPherson, Stephen McLaren, Sophie Gerrard and Jeremy Sutton-Hibbert, and also some of our favourite work by others which we’ve enjoyed featured on our blog and website from the last couple of years.
We invite you to come along for an afternoon of some great photography, multimedia and lively discussion.
No need to book, if you would like to attend please just come along. We hope you can make it, and we look forward to the chat!

 

The audience at the Document Scotland Summer Salon event at Stills Gallery, Edinburgh

The audience at a Document Scotland Summer Salon event at Stills Gallery, Edinburgh, August 2013.

 

Press Release

“The University of St Andrews Library Special Collections Division is working with BID St Andrews – the business improvement body created to support businesses in the town – and local businesses to launch an annual photography festival in August which will celebrate the role and importance of St Andrews in the world of photography and engage with those who live, work in and visit the town.

BID Chairman, Alistair Lang, explains: “We are one of the most photographed and filmed towns in the world, yet few realise much of the technology we enjoy the benefits of today began with the work of a collection of photographic pioneers who lived and worked in St Andrews in the 1800s.”

Dr John Adamson is perhaps the most celebrated – a blue plaque adorns the wall of his former home in the town on South St, now The Adamson Restaurant. But many other names are to be celebrated for the role they played, including Sir Hugh Lyon Playfair, David Octavius Hill, Robert Adamson, Thomas Rodger and Sir David Brewster.

The first six-week-long festival – from August 1 to September 11 – which is being curated by the Universtiy Library’s Photographic Collections Manager Rachel Nordstrom, will see events and exhibitions focus on the earliest days of photography in St Andrews as well as Scottish documentary photography over the last 175 years and contemporary photography.”

The Festival was recently featured in The Scotsman

13725114_809242052546754_237083466477980423_o

Further info

To see the full schedule of events please see the full list of exhibitions and events here

To keep up to date visit the St Andrews Photography Festival Facebook page here.

Did you like this? Share it:

Northern Light Conference and Exhibition

northern-light-exhibition-poster-2

I was really pleased to be invited earlier this month to present a paper about my work Drawn To The Land at the recent conference and exhibition Northern Light: Landscape Photography and Evocations of The North at Sheffield Hallam University.

IMG_4100

Drawn To the Land exhibited at Northern Landscape exhibition SIA Gallery, Sheffield Hallam University, July 4th 2016

 

The conference and related exhibition explore the ways that photographic images address notions of a Northern landscape – whether drawing on established traditions of art and photography or whether concerned with contemporary photographic and lens based practice.  The conference will bring together scholars and practitioners to discuss a wide range of practices and critical approaches, from both contemporary and historical perspectives.

The group exhibition features work by Mark Adams, Tom Baskeyfield, Jacqueline Butler, Anne Cambell, Matthew Conduit, Kevin Crooks, Michael Day, Liza Dracup, Sabine Dundure, Sophie Gerrard, Alexandra Hughes, Henry Iddon, Mitch Karunaratne, Anna Lilleengen, Adam Murray, Mario Popham, Simon Roberts, Theo Simpson, Ravinder Surah, Jonny Sutton, Patrick Wichert, Chi Yan Wong

IMG_4099

Northern Landscape exhibition SIA Gallery, Sheffield Hallam University, July 4th 2016

Key note speakers at the conference were photography writer and curator Liz Wells and photographer Simon Roberts. The two days were filled with interesting discussion and debate around representation of the north and landscape photography from UK and worldwide based colleagues and photographers.

IMG_4101

Northern Landscape exhibition SIA Gallery, Sheffield Hallam University, July 4th 2016

 

Sheffield Conference

Presenting my paper at the Northern Landscape Conference at Sheffield Hallam University, July 4th 2016

 

IMG_4204

Some works featured in the exhibition, clockwise from top left Aileen Harvey, Liza Dracup, Alexandra Hughes and Simon Roberts

IMG_4129

Northern Light, An exhibition exploring  contemporary photographic practice in relation to the northern landscape and its representations is on at SIA Gallery in Sheffield until 31st July.

Did you like this? Share it:

April Salon Event – Skye!

To mark the end of our exhibition at The Scottish National Portrait Gallery, The Ties That Bind – we are off on the road again to present our work and work by photographers we admire to new audiences in Scotland. April 27th will see us in Skye – at the wonderful ATLAS Arts – if you’re nearby please do come along and join us.

The event is free – as ever – and all are welcome – see more information here

Screen shot 2016-04-13 at 23.36.31

 

See ATLAS Arts website at www.atlasarts.org.uk

Thank you to Creative Scotland and The University of St Andrews Special Collections for funding this Document Scotland Salon event.

Common-Ground-Press-Release-Wales-9

Did you like this? Share it:

Scottish National Galleries blog – Sophie Gerrard

Our exhibition The ties That Bind is now in its final month at The Scottish National Portrait Gallery – and to mark this, Sophie has written a blog piece for the Scottish National Portrait Gallery talking about how she made her work Drawn To The Land.

Screen shot 2016-04-10 at 16.16.48
In 2013 I began an exploration of my own relationship with the Scottish landscape. Having lived away for ten years, I wanted to understand the connection I, like many Scots, have with ‘home’.

Read the full blog post here

Did you like this? Share it:

Panel Discussion – Women on the Land – 9th March 2016

On Wednesday 9th March at 12:45pm Sophie will be taking part in a panel discussion with historian Dr Elizabeth Ritchie (University of the Highlands and Islands) and crofter and writer Liz Paul, will look at the history and context of women crofters in Scotland and beyond.

This panel discussion will take place in The Scottish National Portrait Gallery and all are welcome!

 

Screen shot 2016-03-03 at 14.24.47

Did you like this? Share it: