Tuesday, 18 February 2014

Bandanna Associations

5-9.02.2014

I spent my time in Outlandia exploring the rich landscape and reflecting upon my own relationship to it. I continued a vein of work that has drawn inspiration from the Scottish-American naturalist, John Muir. He spent his early years out in natural spaces and wrote a great deal about his experiences. As a result, he became one of the US’s earliest environmental advocates and preservationists. In the spirit of John Muir, I have chosen to use his words in my work and draw inspiration from his process and passion. I have worked on a series of writings that are joined together with images from the natural spaces surrounding Outlandia.

Jonathan Hemelberg (USA. BFA Painting and Drawing and MFA student)
Art, Space and Nature (Edinburgh College of Art)



http://asnse.wordpress.com/tag/jonathan-hemelberg/

Space Strata

5-9.02.2014

During my residency period, I developed a series of ephemeral interventions in the forest. I built on concepts related to my previous body of work and my interest in the different elements that configure the inception of man-made architectural space.
The visual perception and even the acoustics of the forest are altered in a simple intervention that addresses the space available between trees. I worked in three different locations in Glen Nevis forest.

Javier Vidal Aguilera (Spain. Architect and MFA student)
Art, Space and Nature (Edinburgh College of Art)






MIST

5-9.02.2014

I used the residence in Outlandia to investigate my interest in mist and atmosphere.  The surroundings and many of the walks gave me a a lot inspiration and knowledge for future artprojects.

Sara Ocklind (Sweden. BArch and MFA student)
Art, Space and Nature (Edinburgh College of Art)







Sunday, 14 July 2013

reading writing | writing reading


Alec Finlay & Luke Allan


These fourteen texts were written over one week at Outlandia, with both poets making one entry per day. A pre-arranged reading list paired books related to huts, dwelling, belonging, and Scottish landscape. Each day a chosen pair of books was read, one each, and poems composed in response. The result is a seven-day, two-sided poetry sequence on Outlandia specifically and dwelling in general. 

Outlandia Library (photo LA)

noisiv | vision : from the road north


Outlandia (photo Luke Allan)

This sequence is composed from field-notes on the culture of viewing, remnants from a book-length poem that records a journey through Scotland, guided by Basho’s Oku-no-hosomichi, pairing Basho's temples with Neolithic sites, or contemporary temenos. Our journey, from Edo-Edinburgh to a view of Sado-St Kilda, guided us toward an understanding of viewing, from chambered cairns, most notably Bharpa Langais, North Uist, through folly viewing points, to contemporary secular constructions. The visits are detailed in the posts on the road north blog. Although we decided that this material did not, finally, belong in that journey narrative, I have preserved it here, as it bears on my ongoing research into shelters, huts, viewing platforms, follies and comparable constructions made, or proposed, by contemporary poets, architects, and artists.

Alec Finlay



Sunday, 7 July 2013

Ultramundane

I am using the time in residence at Outlandia to build on my previous body of work by documenting techniques, strategies and games I invent and construct to measure the duration of my stay in Glen Nevis. Such play is informed from limited materials such as those I carry to Outlandia and those I find within the landscape – such as rocks, trees, vegetation, paths, e.t.c – and is framed through seriousness, the mundane, nonsense, failure and success.

Kim Walker

http://www.a-n.co.uk/artists_talking/
http://www.kimwalkerart.co.uk/





All images courtesy Kim Walker

Sunday, 23 June 2013

I CANNOT SEE THE SUMMIT FROM HERE



[...] I wandered for a day as an OUTLANDIAN out and out into the area around the Water of Nevis, East of Steall ruins, with An Gearanach (982 m) and Binnein Beag (943 m) and Binnein Mor (1130 m) to the south and Aonach Beag (1234 m) to the north.  I realised while walking around here that my approach to walking; wandering along the contours on a map, sometimes taking bearings to ‘kinks’ in the contour lines, and then wandering off course and off the paths was one of my preferred ways of making my way and navigating through an area.  On days when there is no need to get anywhere in particular.  In June with long periods of day light this is easy to do.  Just pick an area, as I did here between Water of Nevis, Allt Coire nan Laogh, and Tom and Abhainn Rath and go for a day. 



I walked between most of the streams in an area of about five square kilometers.  Sitting, crouching and cowering in the landscape, down close to the water, hidden from view. 

Terrified in the landscape.

I have decided that I am walking to get off the path? Being off the path not on the path can represent a change in emotion.  I realised in looking again at Ana Mendieta photographs [Silueta Series" (1973–1980)] that a series of images representing movement or a change in consciousness could be a way of describing awkwardness, fear and anxiety.

All photos courtesy of Alison Lloyd


"We do not much need to understand the form and nature of our emotional relationship with wilderness, as to recognise that the nature of wilderness is itself formed from our emotional being." 
     
David Reason, Reflections of Wilderness and Pike Lane Pond [...]


Alison Lloyd

http://contemporaryartofwalking.com/