ANDREW KELLY & BETH LEGG: Self-Directed Residency, 2014

I spent the much of the week in Inshraich constructing, erecting and recording Aeolian harps, designed to be easily carried and assembled on site. Aeolian harps are ancient Greek stringed instruments that are played by the natural force of air movement rather than being plucked by hand. The duration and dynamic of sound that the harp makes is determined by the direction and force of the wind. Beth spent the week documenting the surrounding landscape with its moss coated trails, trees, and rocks coated with lichen. Beth’s work is drawn from a strong connection with the Scottish landscape and she was working towards her solo show at the Scottish Gallery in Edinburgh.

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We stoked the fire …planned our days and meals

We ate well

We learned new skills (chopping wood) and re-discovered old ones (climbing trees)

We walked and climbed

We showered outdoors flying skeins of geese overhead

The radio and candle light were our night time companions

Once in the Bothy rhythm, familiar and at home with our surroundings

Beth photographed, sketched and planned new work

I sawed, drilled, assembled, tested, planned, packed

We climbed once more

I chased the wind -Beth chased nature, wildlife and documented the many Lichen specimens

I experimented and installed ……(with various degrees of success)

We recorded, documented and absorbed once more

We were sad to have our last night in our birch woods and temporary Bothy home

We returned rejuvenated and enriched by the Bothy experience and the richness of Inshraich and the Cairngorms landscape.

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Andrew Kelly – Aeolian Recording – Inshraich 2014

Many thanks to the Bothy Project and Inshraich Farm for a wonderful experience

LORENA VB & SCOTT MCCLURE: Self-Directed Residency, 2014

Lorena VB




Scott McClure | scottdgmcclure.co.uk

I returned to the Inshriach Bothy after volunteering on the prefabrication and build of Pig Rock Bothy currently situated on the grounds of Modern Art One, Edinburgh, in July this year. Like my previous stay at Inshriach, it was an energising and valuable time in which to exercise and explore the good things in life; nature, food and drink, literature, the night sky, music, meditation, good company and conversation. Thanks to Oscar for leaving a copy of Alasdair Gray’s, Lanark.


Thanks again to The Bothy Project and all at The Inshriach Estate.

L & S

VICTORIA EVANS: Self-Directed Residency, 2014

Waldeinsamkeit- Noun, German (f) 1. Woodland solitude (The feeling of being alone in the woods). Etymology: Wald – woods/forest + Einsamkeit – solitude/ lonesomeness


Listening, looking, living, reading, writing and making as modes of conscious perception.

The work and rhythm of daily life.

The charged values of light, heat, water.

Listening as a way of seeing. Listening as readiness.

Stillness as invisibility.

The fear of being lost. The fear of being found.

The practice of familiarising a terrain.

The dialectics of inside/outside and vertical/ horizontal.

Knowing through inhabiting.















GERRY LOOSE & MORVEN GREGOR: Creative Scotland Residency, 2014

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Sweeney’s Tears: Morven Gregor (Laig Bay sea water rendered to salt on bothy stove). fragments* from Sweeney Albannach: Gerry Loose. Sgurr nan Gillean/ Ainshval/ Askival/ Hallival/ just a view/ hungry/ something remembered/ farmed out

I only wanted to lose
my name

outside the village
hall unbidden un
invited eaves
dropping gossip and come
hither talk
maybe someone will
drop a long dout
still lit

where I live
you’ve not been


* from Sweeney Albannach, fragments 1 -105

Madescapes at Pig Rock Bothy


MadeScaes ^, Beacons, 2014

UK Based Artist Collaborative group MadeScapes ^ are constantly thinking, researching and appropriating, in order to produce works and projects beyond themselves and projecting a potential for our greater humanity. Having exhibited both nationally and internationally, from London to Barcelona; they now arrive at their latest project ‘Beacons’ which was recently exhibited at the Pig Rock Bothy at the Scottish National Gallery of Contemporary Art in Edinburgh.


Pig Rock Bothy was wrapped up and filled with a deluge of colliding and overlaid logos; the clash of contemporary spectacle and latent paranoia. As the post 9/11 period dragged on a new pessimism threatened to overtake the hope of the late twentieth century: before that the baby-boomers that espoused peace and free love in the sixties matured into the venture-capitalists of the eighties. The internet engendered the Global Village: Are we destined to forever run this loop of hope and despair, or are we the generation that can break the cycle?


At the core there is a void into which your reality can be projected.

From the centrepoint it appears as though your world is forever expanding. Repeating and recreating itself ever outwards until it becomes everything it had hoped it would be; until it reaches the point where there is nothing outside of itself. And once more, nothing within.


In oneness there is no referent. The vast expanse of everything returns us to an atomic state. From this nothing, a new beginning.

At this rate of expansion the cloud can never be outrun.

An ever-decreasing loop of hope and despair intensifies every moment to levels that can never be equalled, only bettered, until betterness becomes an impossible dream, and the dream replaces hope and reality replaces despair and we turn to our collected symbolism to remind us of who we are: To tell us why to be.

With every corner of consciousness cleansed of its precedents we, sterilised, return to the fold ready to watch the world with eyes screwed tightly shut. Purged of the old, the new becomes the norm becomes the old again and is torn up, chopped down and purified, razed and replaced. And everything collapses on the core. Condensed out of recognition, that core is revealed to contain nothing but the void onto which reality is projected, accepted, absorbed and represented. Equivalence. Equidistance. A solid state: liquified, atomised, solidified. –‘Beacons’, 2014 MadeScapes ^


NATHAN ANTHONY: John Watson Prize Residency, 2014

The John Watson Prize is awarded annually to a graduate of Edinburgh College of Art (ECA) by the John Watson Club in association with the Scottish National Gallery of Modern Art. The building which now houses the Gallery of Modern Art (One) was, until 1975, the John Watson School. The prize has been in existence since 1991 and previous winners have included artists Stephanie Mann, Paul Chiappe and Jonathan Owen. The winner receives a medal and the opportunity to display their work within the gallery.

 The 2014 winner is Nathan Anthony (b.1991) who graduated with a Fine Art MA (Hons), from the Sculpture department at ECA earlier this year. He is currently based between Edinburgh and Brussels. Anthony was selected for his witty conceptual works that explore our understanding of the nature of materials and their associations. On display here are a selection of works by Anthony which exemplify his varied approach and interests.

 Of his work the artist has said:

‘Whilst I often embark on the making of a work with a loosely formulated outcome or end goal in mind, I frequently find the result to be drastically different and unexpected. Its trajectory often becomes dictated by serendipitous discoveries that I have made en route, that could not have been preconceived, but are visible only as a result of the making process.’

For further information on Anthony’s work and upcoming projects, visit – www.nathan-anthony.com

The artist would like to thank the MOONENS Foundation, who supported and enabled the preparation of this exhibition by providing free access to one of their studio spaces in Brussels, Belgium.

 *A list of works can be found below*


Case one

 Arenofiles Series (Stonehaven-Inverness) 2013

Cellotape and sand from various beaches along Scotland’s north-east coast

 The texture and hue of sand from different beaches is recorded by completely unraveling and rewinding a 25m roll of cellotape, sticky-side down along a beach’s surface, to capture all the grains in its path. The examples here are selected from the result of a two week walk by the artist, from Stonehaven to Inverness, during which 48 sites were sampled. The title of the work comes from the name given to a collector of sand – an arenophile.

 Frames 2013-on going

Used pool chalks, cardboard box

 Another ongoing work in which unused pool or snooker chalks (which the artist always has in his possession) are swapped for heavily abraded ones, in establishments where one is able to ‘graze on the baize’. On show is the complete current collection, taken from a variety of locations across Edinburgh and London

 Court (Fragment) 2014                                                                                                                                                                                                                            Fired terracotta clay, ball impact mark

A small fragment of a much larger work, in which tennis balls were shot at wet clay tiles to make scuff marks and small craters. The resulting clay shapes were then fired in a kiln.


Case two

Shop Front Paintings 2014

Bought prints of paintings with image obscured by screen print

Connected to the scratchcard works, prints of paintings purchased in various charity shops were screen printed over with an image of OSB wood in a specially prepared removable ink.

 Scratchcards 2014

Silver leaf, found (and bought) Scratchcards

Silver leaf is applied to portions of shop bought scratchcards where the ink has been scraped away; obscuring the view of the potential results, and highlighting the previous removed foil.

 Steven Hendry’s Retirement Plan 2012

Coloured snooker chalks, baize interior patch, palette and brush, wooden box

 A commemorative hobbyist watercolour set for Scottish-grown talent and now retired snooker professional Steven Hendry.

 Grade III Listed (Freeze) 2014

Plaster cast sections taken from Walls Viennetta ice cream

 A visual pun – similar to the Not Oak Smoked work – the form of this work connects the fluid, frilly, faux-sophisticated appearance of a Walls Viennetta with decorative architectural embellishments like cornicing and friezes. Transformed through the casting process, the two different frieze styles come from either side of the Viennetta.



Not Oak Smoked 2013

Watercolour painted plywood, gold packing card, all vacuum packed

 This work mimics the contour lines of vacuum packed smoked salmon, replacing the fish with painted wood.

Jacqui Casher: Raindropology at Pig Rock Bothy


Raindropology Foundation at the Pig Rock Bothy: Scottish National Gallery of Modern Art October 16-19 2014

Raindropology =The Scientific Study of Raindrops

A Raindropologist = Someone who Studies Raindrops

Raindropology Assistant (RA) = Collector and Maker of Raindrops

For this short residency we were given an opportunity to think about how we would use Pig Rock Bothy at the Scottish National Gallery of Modern Art in Edinburgh. As a Raindropologist, I am interested in collaborating with people to collect and study Raindrops from across Scotland. I often think about The Raindropology Foundation starting a National Archive of Raindrops. Pig Rock Bothy was an ideal starting place; the weather forecast rain with some showers, perfect, I thought for collecting a wide variety of Raindrops when I arrived with the mobile Raindropology laboratory.


Each day I documented the Raindrops collected from the grounds and screened a selection of animated Purple and Blue Raindrops in the Bothy; some of the Raindropology Assistants chose the colours: we were kept busy but we were able to make a good start for the Raindropology Foundation’s National Archive of Raindrops.

Male Collector

So thank you to all the Raindropology Assistants (RAs) who dropped by and kindly collected and shared interesting conversations about raindrops. Many RAs came from Edinburgh, Glasgow, Fife, Berwick, London, and as far away as Japan, Texas, Tunisia, France and the Outer Hebrides; it was great to meet so many people who contributed enthusiastically to this  collaborative Project. 




Toby,Joy,Brigitte,Mairi,Ross,Jonathan,Hannah,Ailsa,Oly,Izzy, Beth,Jules


The next step of the research is collating more Raindrops for a screening in Glasgow School of Art. If you are interested in catching up with this Public Artwork and/or wish to contribute and collect Raindrops, or you know some good places to collect them you can reach me  at Glasgow School of Art Department of Sculpture and Environmental Art.j.casher1@student.gsa.ac.uk

Jacqui Casher


Raindropology Foundation