Victoria Evans – Portrait Sketch Encounter


A week into my Masters Programme at Glasgow School of Art, a group of us were offered the opportunity to be part of the Pig Rock Bothy residency at Modern One, Edinburgh.

The idea of this translucent structure being used to spotlight the process of art-making tickled my imagination. The bothy is a work in progress itself until it moves to its permanent home in Assynt, and it proudly displays the craftsmanship of its own construction.

I was attracted to the in-between-ness of the location too. It’s an inside/outside space, both within and out-with the formal sphere of the gallery. So I came up with a proposal and two weeks later I started my residency.


One of my interests is in art as a means of connection: between artist and subject; maker and materials; the work and its audience. I wanted to explore some of these relationships in an informal way that might suit the bothy’s unique location, status and accessibility.

I had done a project previously which involved drawing a different friend or acquaintance every day for a month. There’s a still, contemplative state that occasionally occurs when one is ‘looking’ or being ‘seen’ through the concentrated, subjective exchange of a portrait sitting that can trigger some quite profound reflection for both parties. I was intrigued to know whether this experience could be easily transposed to an interaction between strangers.

I set up a comfortable corner of the Bothy and invited visitors to come and be drawn whilst chatting about our different experiences of galleries, contemporary art, and what it feels like to sit for a portrait.

It’s a huge challenge to try and draw someone whilst simultaneously talking and listening to them properly. In portraiture there are a lot of expectations and anxieties that can come into play – on both sides – around likeness, beauty, age or gender as well as the artist’s desire for a ‘good’ drawing (however she is defining ‘good’ on that particular day) as well as the obvious time constraints imposed by such an impromptu situation.

At times I prioritised line over likeness, or drawing over conversation, and at other times the interaction took over completely and the drawing became just an activity to talk through. But on perhaps two or three wonderful occasions both sitter and I relaxed into the encounter and the drawing and interaction came together, resulting in a sketch that, in my eyes at least, became the likeness not of a person but of an experience.









On January 18th 2014 we (Ruby Pester, Nadia Rossi, Rachel Walker and Catherine Weir) strapped as many musical instruments, art materials and bottles of whisky to our persons as was humanly possible, left the bright lights of Glasgow (European City of Culture 1990) and headed off into the rural Highlands for our week long residency at Inshriach Bothy. The core objective of our residency was to tear ourselves away from the distractions and relentless humdrum of everyday living so that we could spend time together, alone, finding and developing our collective artistic and musical voice.


Over the next seven days we immersed ourselves in a rigorous and punishing regime of early morning noise yoga sessions; freeform orchestral rock plunging masterclasses; percussive tree hugging symposiums and various other exercises carefully designed to help us galvanise our strong sense of cosmic sisterhood and ultimately establish our sound.



A total of 45 tracks were laid down over this period using various traditional and less traditional music making techniques. The list of titles penned includes many future classics such as “Psychic Orgasm”, “Hot As Hell”, “I Am My Mother”, “Don’t Colonise Me”, “Salted Crystals”, “We DIdn’t Even Make A Dent In It” and “Shitterbockerglory”.




An integral part of our song writing and image making process was our nightly post dinner session of the game Exquisite Corpse therefore we had originally thought it fitting to write our end of project report with this very same method. It of course turned out to be utter bollocks in isolation but here it is anyway, our report in it’s rawest form:

Cosmic Sisterhood
Four bodies in a wood
Not Dead
ALIVE, Aligning
And Axing
The kindle
In a universal rhythm
And rhyming
Under a tin roof
Ridging and grooving
In the soul
Hot hot heat
In the face…
Sweat glands exercised in the
horse-box sauna with a dram
We reject the time and machines and are
led by the daylight and
the moonlight
Enjoying watching small birds on the
bog. Muddy feet up hills
and 25 husky dogs on a chain,
snarling at our egg maracas
We shake
shake, bake
kneading and beating
whipping and eating
Swapping bed fellows, pillows, ideas.

In September 2014, 8 months after our original voyage into the woods, we undertook a new residency in Glasgow’s Project Room now joined by Sarah Messenger our picture was complete.  Now a 5 piece we fed everything we had learned at Inshriach and all new influences from Messenger directly into the development of our new band: Fallope & The Tubes. This process culminated in what was a pretty well received debut performance and as a result we are now currently in the process of raising funds for our first EP and music video.




ORAN WISHART: Self-Directed Residency, 2014

Cobalt Blue

Zoetrope of light flashes onto an angled pane,
in the slipstream waves tumble back and blue changes to black.
North West the water is like glass,
The Sgurr drawing fracture lines on the surface.
The horizon disappears­­­ –
a mirror reflecting clouds.
Dense cobalt blue sky changes to
a greeny glaze, an orange haze,
washes of sienna, Japanese water colour,
TV shades where the horizon left.
Dance through the mud,
drop the anchor,
observe the cerulean curve.
Descend from lava cliffs to
singing sands.
A tangle of fishing nets,
a tapestry of rope
weaving through the cobalt blue.
To the rocks at night, tucked into the spire of stone
under a washed out aniline sky
Island outlines
fading from the ever darkening above.
Aeroplane view blue,
Icelandic night blue,
tip-toe blue,
hushed voice over the sea too.
Open sky in the ravine,
above the ridge where the morning sun rises.
A vessel glides slowly to the left with a flickering light,
carefully balanced kerosene lamp, close to the shore.
In front of the door, with the changing light; the appearance of night.
Overcoats and horizontal star gazing.
Three candles flicker and melt in the shade of a standing lamp,
casting light onto the page, ready for sleep.





EILEEN RAMSAY: Residency, 2014

glint1 glint2

Glint. In the bracken
blue hour drifting
skyward oscillation