Clover

Clover

Beka Globe

2019
Photograph
Dimensions: H:91 x W:91(cm)
Framed: H:94 x W:97(cm)

Part of the Flowers series

Re-Soundings*

Mhairi Killin

2016
Re cast WW1 munitions

Kindly loaned to the Hulabhaig Collection by the artist.

“The Heretics Take Down the Bells from the Churches in Geneva: On the next Wednesday (May 12th) those dogs removed the bell from Notre Dame de Grace and threw it down from the Steeple to destroy it. Afterwards they went to see the bells at the monastery of Palais and at the parish of Saint-Gervais because they wanted to melt them down and make weapons to use against monseigneur and the Christians.”[i]

Commissioned by An Lanntair, Re-Soundings is the outcome of a collaborative journey through the landscapes of Lewis and Iona. Musician John Purser of Sabhal Mòr Ostaig and Lewis writer Alastair McIntosh, accompanied us in our exploration of the bell as a symbol of secular and non-secular time all set against the wider context of the reformation in Europe. The thinking behind Re-Soundings was directly informed by the time spent in specific landscapes with local people who shared their knowledge and connection to place, and through conversations and activities with Alastair McIntosh and John Purser. Re-Soundings references the iconoclasm of the Reformation and the impact of this on belief structures in the Hebrides, suggested by the presence and absence of the bell as a visual and auditory feature in the landscape. One of Alastair McIntosh’s observations on Lewis’s bell-less belfries is that the empty space leaves room to look through and beyond to an alternative and, some might argue, deeper understanding of belief. The emptiness and silence has created a space not only for reflection, but also, for creativity. Into this, Re-Soundings ventures.

The exhibition at An Lanntair in May/June 2016 and the sound interventions at St. Moluag’s Chapel on Lewis and St. Oran’s Chapel on Iona in June 2016, reflect months of shared thinking, and engagement with one another’s artistic and scholarly practices, and with the people most connected to the landscapes we explored. Created by John Purser, the sound work was composed primarily from bell recordings gathered during public workshops and performances on Lewis and Iona.

The bells were created by re casting WW1 munitions into replicas of two early Christian quadrangular hand-bells. We chose this material to symbolise a rethinking of the iconoclasm of the Reformation in Europe; we know from historical documents that bells were removed from religious buildings and recast as munitions. It seemed fitting to use munitions from the Great War, given that the project coincides with its centenary. The project is supported by a bi-lingual publication with commissioned writing from Alastair McIntosh, John Purser and Francis MacKee and includes a CD of the sound piece and pullout screen printed map of the geographical context of the project.

The publication serves as an artefact to the project, extending its life beyond the chronology of the exhibition and installations. One meaning of “inspiration” is to breathe in, and as artists we have inhaled deeply of the exceptional physical, spiritual and cultural terrain of Lewis and Iona.

We hope that the Re Soundings website, publication and CD will allow you to share in that breath.

The project would not have been possible without the generous support of Creative Scotland, An Lanntair, Comhlairle nan Eileen Siar, Historic Environment Scotland, Sabhal Mar Ostaig, Fiona MacNeill Associates, Aosdàna, Media Studio Glasgow School of Art, Ness Historical Society, Shawbost Historical Society, St. Peter’s Church Stornoway. Personal thanks also to Acair Books, Alastair McIntosh, John Purser, Frances McKee; Roddy Murray, Elly Fletcher, Jon Macleod, An Lanntair; Rev. Terry Taggart, St. Peter’s Church Stornoway; Finlay Macleod; Andy Crossan; Andrew Laing, Laings Foundry Edinburgh; Calum Angus Mackay, Ivor MacKenzie, MastArd Studio; Etta and Roddy Morrison; Jim Crawford; Anne Macleod, Ness Historical Society; Iain Macaulay; Alasdair MacKay, Skyespace, Sabhal Mòr Ostaig; Geoff Allen, CaVa Recording Studios; Andy Graham, Graphical House; Alasdair MacLeoid, Facal; Jane Martin, Historic Environment Scotland; Pete Johnson, Ratho Forge; Gordon Bruce, Aosdàna; Andrew Tibbles, Mark Craig, MakLab. Finally, we owe many thanks to the participants of the Lewis and Iona sound workshops. Their engagement with the bells provided John with a wealth of audio material for his composition.

‘S Fhada Leam an Oidhche Gheamraidh (I Feel the Winter Night is Long)*

‘S Fhada Leam an Oidhche Gheamraidh (I Feel the Winter Night is Long)* - Detail

‘S Fhada Leam an Oidhche Gheamraidh (I Feel the Winter Night is Long)*

Mary Morrison

2016
Oil/Mixed Media on paper
Dimensions: H:26 x W:102(cm)
Framed: H:43 x W:121(cm)

‘S Fhada Leam an Oidhche Gheamraidh (Long is the winter night)

This work is presented here as part of the Hulabhaig Collection by kind permission of the artist.

Work inspired by the songs of Murdo MacFarlane (Bàrd Mhealboist).

This song was written when Murdo was a young man, working in Manitoba, Canada, and is a classic ‘exile’ song. A very beautiful song. The translations don’t do the songs justice, either in the beauty of the gaelic original or the music.

"I wanted to use a horizon in a large-scale painting, and embody that sense of exile and longing in the song. ‘Cianalas’ is a very particular term in gaelic, often translated as homesickness, it is much more profound than that, as this translation suggests: ‘A deep seated sense of belonging to the place where your roots lie. Normally attributed to the Outer Hebrides. There is no sadness or melancholy in cianalas, only the realisation of what is truly important in life.’"

‘S Fhada Leam an Oidhche Gheamraidh (extract)

I feel the winter night long
Long, long, long it is
I can see nothing but a bare prairie there
And I can’t hear a wave coming to the shore

(Chorus)
In the evening time when it’s getting dark
Often the spirit will be full of longing
Thinking that there is a long, long distance
From where I would like to be ceilidhing

The work was created for an exhibition curated by Ishbel Murray 2016 based around a book launch.

'Le Mùirn' (With Affection)
Author - Catriona Murray https://www.ishbelmurray.org/collaboration.html

John Alexander Macaskill, Stornoway, aged 19.*

Margaret Ferguson

2015
Oil on canvas

*Kindly loaned to the Hulabhaig Collection by the artist.

John Alexander Macaskill (Jack)

Born 7th March 1899. Age 19.

75 Keith Street. Signalman RNVR.

Service number Z/8453. LWM 1/LWM 9

Born in Liverpool to Hugh and Chrissie "Teens" Macaskill (née Maclean), Jack Macaskill was their only son and had just one sister, Maggie 'Teens'. Jack was well known in the town as a junior clerk in the Harbour Office, from soon after war broke out. He was a member of the Stornoway Boys' Naval Brigade and volunteered his services as soon as he reached an age to enlist. His signalling skills were quickly spotted and he was engaged by the RNVR to serve from 1st April 1917 until the cessation of hostilities. He served at HMS Victory VI, HMS Victory / and HMS Vivid Ill and saw plenty of action, including being torpedoed twice. He left HMS Vivid at Devonport to rejoin his family in Stornoway but was never to see them again. His body was not recovered until late February 1919 and he was then interred at Old Sandwick Cemetery (WG). A memorial tablet to his memory is in St Peter's Church, Stornoway.

Source: The Darkest Dawn, Malcolm Macdonald and Donald John Macleod
—————

On New Years eve 1918, sailors who had survived the carnage of WW1 gathered in Kyle of Lochalsh, desperate to return to their loving families. Many went aboard the yacht 'Iolaire', others boarded the 'Sheila'

During the passage of the Iolaire from Kyle to Stornoway the yacht took the wrong course. At 1.55am, within a mile of the harbour and with the lights of home visible, she grounded on infamous rocks called the Beasts of Holm. 201 were lost; 79 survived of whom half came ashore on a rope taken from the ship to shore by hero of the night, John Finlay Macleod.

On 1st January, islanders found the bodies of men lying on the shore amongst scattered toys and presents they were bringing home to their loved ones. Many of the men's bodies were never recovered.

The impact of the disaster was felt throughout the islands. Its effect was profound on the islands. It was little talked about afterwards through trauma and deep grief and is not well known outside the Hebrides.

Margaret's own family was affected, with the loss of a great uncle, Alasdair Mackenzie, 'Am Boican'.

Mass emigration followed, with many islanders never to return home.

Following her experience with "Dol Fodha na Greine" Margaret decided in 2015 to commemorate the sailors who were lost in the 1919 Iolaire disaster. 100 portraits in oils to commemorate the centenary have been completed. The exhibition at An Lanntair arts centre Stornoway ran from 29/12/18 to 2/3/2019.

A selection of paintings was also shown in the Scottish parliament in March 2019 at an event hosted by Dr Alasdair Allan, MSP.

Donald Macphail (Domhnall Beag 11 Borrowston) Age 44*

Margaret Ferguson

2015
Oil on canvas

*Kindly loaned to the Hulabhaig Collection by the artist.

Donald Macphail (Dòmhnall Beag)

Born 5th December 1874. Age 44.

11 Borrowston. Seaman RNR.

Service number 222Z/D. LWM 1/LWM 10

The son of Donald and Marion Macphail (née Macleod), Donald was married to Mary, [née Mackay) and they had five children. Naval records give his birth date as January 1874. Donald had enrolled in the RNR on 29th March 1899 and had nearly 20 years service. He reported to HMS Pembroke from Peterhead via Stornoway, on 14th August 1914, and eight months later joined the aircraft carrier HMS Campania, staying with her until she was sunk in a collision on 6th November 1918. Donald left the Chatham barracks at HMS Pembroke for his first New Year of peacetime and never reached his home.

He was interred at Dalmore Cemetery (WG].