Festival of Sail: The Tall Ships Races, Aberdeen 2025It’s hard to believe that it’s already a year since Aberdeen welcomed the Tall Ships back to the city. Like so many others, I spent hours wandering around the harbour with my camera, soaking up the wonderful atmosphere that spread right across the waterfront.
When Port of Aberdeen later commissioned me to create a painting to commemorate the event, I wanted it to become a lasting reminder of an occasion that meant so much to the city. More than simply celebrating the magnificent ships, I hoped it would reflect the excitement, community spirit and sense of civic pride that made those four days so memorable.
The finished painting looks across the harbour from Blaikie’s Quay towards Regent Quay, with Aberdeen’s distinctive granite skyline providing the backdrop. The ships, city and harbour are shown as they were, while colourful bunting, signs and bustling crowds help convey the harbour at its busiest and most vibrant. I wanted the finished painting to feel like Aberdeen at its very best during the Tall Ships – full of colour, joy and life.
When the painting was unveiled earlier this year, Bob Sanguinetti, Chief Executive of Port of Aberdeen, kindly said that I had “perfectly captured the essence of the event which can now be enjoyed for generations to come.” Hearing those words meant a great deal because they echoed exactly what I had hoped to achieve.
Since then, one of the questions I’ve been asked most often is whether prints of the painting would be available. I’m delighted to say that they now are.
I’ve produced two fine art editions: a larger signed and numbered A1 Limited Edition of just 150 prints, professionally reproduced on beautiful Hahnemühle fine art paper, and an A2 open edition, offering the same image in a slightly smaller format while maintaining the same exceptional print quality.
Whether you visited the Tall Ships, volunteered during the event, boarded or even sailed on one of the vessels or simply have a love of Aberdeen and its maritime heritage, I hope these prints provide a lasting reminder of an extraordinary few days in the city’s history.
Both editions are now available to order from my online shop. Prints can also be purchased and framed at:
Framing Point, Rosemount Viaduct, Aberdeen
Frameworks, Bishopton Kinneler, AB210TX
As always, thank you for following and supporting my work and I hope you like the picture.
Chaos & Control – Printmaking in Scotland Now
I’m delighted to have two of my etchings included in Chaos and Control: Printmaking in Scotland Now, currently showing at the Royal Scottish Academy in Edinburgh (until 26 June 2026).
The exhibition brings together the work of many of Scotland’s leading contemporary printmakers, celebrating the incredible breadth and diversity of printmaking being produced across the country today. Curated by acclaimed printmaker Ade Adesina RSA and RSA Head of Programme Flora La Thangue, the exhibition explores both the traditional craftsmanship and the innovative approaches that continue to make printmaking such an exciting medium.
For me, printmaking has always been a vital part of my artistic practice. Although many people know me primarily as a painter, I have spent many years exploring traditional intaglio techniques, producing etchings that are every bit as carefully considered and time-intensive as my paintings. It’s a highly technical, process driven artform and I love the fact that, while it still allows me to be creative in the same ways being a painter does, the day to day job of printmaking feels and is completely different to working on canvas or with paint.
The two works selected for the exhibition are inspired by Dunnottar Castle’s dramatic clifftop position and are viewed from two different angles. The etchings were produced using traditional copper plate methods. Hard-ground line establishes the structure, followed by successive layers of aquatint to build tone and atmosphere. The plates were repeatedly bitten, adjusted and, in some areas, worked back through scraping and burnishing to recover light. The final images emerge through this process of construction, erosion and recovery, reflecting the same forces of weathering and resistance seen in the landscape itself.
It was a real pleasure to attend the opening evening, to meet up with some old friends and to see such an inspiring collection of work brought together under one roof. The exhibition showcases established names alongside emerging artists and demonstrates just how vibrant Scotland’s printmaking community continues to be.
If you’re in Edinburgh before 26 July, I’d highly recommend paying it a visit. Admission is free, and it’s a wonderful opportunity to experience the richness and variety of contemporary Scottish printmaking.
Aberdeen Art Gallery Micro Commission – How I made the prints you can still see in the city art gallery
Transformation & Anticipation at Aberdeen Art Gallery
I was recently in Aberdeen Art Gallery and was delighted to see that two of the three prints I made for them were still on show after 2 years. They’re on the 1st floor in the Oot n Aboot exhibition, which brings together pictures and stories of local residents and their shared experience of living in the city.
Click here if you’d like to read the original Micro Commission article, which was written shortly after presenting the prints to Aberdeen Art Galleries & Museum in 2023. Click here if you’d like to read the original Micro Commission artic, which was written shortly after presenting the prints to Aberdeen Art Galleries & Museum in 2023.
I’ve been asked many times how I made the 3 different prints, so here is a fairly in-depth breakdown of the entire process; from my original application for the Aberdeen Art Gallery & Museums (AAGM) commission, to getting the pictures made, framed and on the wall.
The Application
I was initially told about the AAGM Micro-commissions by a studio colleague the day before the deadline. I was in the middle of moving into my new studio and packing for a New Year trip to Crovie the following day. However, as a relative newcomer to Aberdeen and having spent many hours admiring the gallery’s fantastic collection, my interest had been piqued! I downloaded the application form as soon as she left and had a first draft written within an hour.
Applicants were asked to say something about their lived experience in the city, addressing themes that might include social justice, climate change, identity, diversity, representation, well-being and migration, while responding to something that was already part of the AAGM collection. The Micro-commissions could be small in scale and created over a short time period. I thought it could be a challenge to come up with an exciting print-based project that would test some of my recently-acquired printmaking skills, especially in screen and photopolymer printing. And, in the unlikely event my proposal was successful, I might just about manage to complete the rather ambitious project I had put together in my mind, despite having already committed to 2 solo shows and another important commission – all of which were to be fulfilled before the AAGM June deadline.
So the first day of our supposedly relaxing holiday was spent rewriting my application (with considerable editorial help from my patient and very understanding partner) and it was submitted within an hour of the deadline. Then, having never applied for anything like this before, I resignedly put the whole experience down to practice and relaxed for the rest of our trip.
Around 4 weeks later, having forgotten all about my application and while frantically finishing several paintings and working on the final preparations for my early March solo show, I received an email to say my proposal had in fact been successful. My initial elation and surprise at this great news were suddenly followed by a gut-wrenching dread that I might just have overstretched myself! But I do love a challenge and that’s exactly what the following 5 months proved to be!
The Proposal
In selecting a work from the AAGM collection as an initial reference for my own project, John Piper’s powerfully atmospheric painting of Dunnottar Castle immediately sprang to mind. Like many of his works, it perfectly captures with great drama and deceptive simplicity the beauty that can often be found even in a crumbling old building. This got me thinking about how the disintegration of one thing can lead to something new and possibly even more beautiful in its place (a painting in this instance, but also the castle itself).
From here I travelled north in my mind to Aberdeen city centre and thought of the recently opened Union Terrace Gardens and how they have helped to rejuvenate that part of the city.
I then took a short trip across the road to the recently demolished Aberdeen Market and pondered how that has provided an opportunity and also some hope that something better might arise out of the dust and rubble.
I decided to produce a triptych of handmade prints exploring the theme of disintegration in relation to those three well-loved local sites. To bring these ideas into fruition I wanted to use three different printmaking techniques, which would reflect the past, present and the future in their own way.
Here are some work-in-progress images and details that I hope will shed some light on the various processes used in creating each print:
Disintegration
Disintegration, the first piece in the triptych, is a traditional copper-plate etching inspired by John Piper’s painting of Dunnottar Castle.
Beginning to develop areas of tone across the whole image using a combination of aquatint, sugar lift and spit bite methods. Sugar lift involves painting the aquatinted areas where tone is required with a syrupy solution – Camp Coffee in this instance – then coating the whole plate with a protective varnish. The plate is then submerged in hot water and the sugar solution ‘lifts’ off the plate and through the varnish, allowing the exposed areas only to be bitten by acid to create tone. Spit bite combines gum arabic with nitric acid which is applied directly onto those aquatinted areas with a brush. Tonal washes can now be layered up by adding more or less spit bite in a painterly, watercolour-like manner.)
Transformation
The middle piece, Transformation, depicts Union Terrace Gardens and contrasts old and new features now present in the gardens and also in the method used to create the print; in that it combines ancient etching techniques alongside photography.
(‘Calendering’ involves running the paper through an etching press under a steel plate in order to flatten out an irregular or rough surface. This results in a smoother, more photographic final image when printed using this method. Other papers could have been used, but, as this is part of a triptych, it was important to maintain continuity of tone and colour. Using the same paper for all three prints helped with that.)
This was an early failed attempt using plastic as a support for the film. I used steel in the successful print which holds the film better and is more robust during the inking and printing stages.
Chine collé (a technique using coloured tissue which is sandwiched between the ink and the support paper) cut to shape and added to colour the base of the podium and the circular pendant light. The poles were hand finished with watercolour.
Chine collé paper is glued and in place prior to positioning the support paper on top before it is all run through the press. The pressure will adhere the tissue (glue side up) onto the support paper and the ink will be printed from underneath onto both surfaces.
The steel plate used as a support for the photosensitive film was cut to be slightly larger than the final image, creating a debossed ‘frame’.
Anticipation
Anticipation focuses on the Aberdeen Market area and poses the question: what does the future hold for this site? The imagery for this three-colour screen print was created entirely in Photoshop.
Photoshop was used to combine a drone-captured digital image with an interpretation of the Herakut mural from the old Aberdeen Market. Three colour separations were then produced: one combining the main background image and the Old Market mural and one each for the gold question mark and the silver Aberdeen Market text.
Manipulating a photograph of the old Aberdeen Market in Photoshop. Note the removal of the lighthouse and how the hand is now upturned to hold the question mark.
After editing the background, I combined a ‘ghost’ image of the girl and old market along with the gold question mark and text in layers to create 3 colour separations to produce the screens for printing the final piece. In the end I decided to hand-paint the question mark screen separation as I wasn’t satisfied with any of the fonts I tried, including the one seen above.
Testing different colours of ink for the Aberdeen Market text. Silver foil and glitter were also tried at this stage, but I went with a silvery grey to reflect Aberdeen as the Silver City.
The Micro Commission Experience
Working on the AAGM Micro-commission has been a fantastic experience as well as a great opportunity to learn. Not only because it has allowed me to develop and test my skills in traditional and photopolymer etching, as well as screen printing, but the funding that was provided by the Friends of Aberdeen Art Gallery and Museums has also enabled me to produce an entirely new stand-alone series of prints that are quite different from anything I have done before. It is also wonderful to know that my triptych has been accessioned into the AAGM permanent collection.
I would advise anyone who is interested in applying to the next round of Micro-commissions to absolutely go for it. This has been a hugely rewarding experience and has shown me what I can achieve under intense pressure.
And finally …
Finally, I would like to say a huge THANK YOU once again to the Friends of Aberdeen Art Gallery and Museums for providing the £2500 funding that enabled my Micro Commission, and many thanks also to Shona Elliot and all the staff at AAGM for their excellent support throughout. I’d also like to thank the staff at Peacock Print Studio and, in particular, James Vaas and Struan Hamilton who have both been very generous with their time, patience and expertise throughout this process.
Strathberry Commission
Just in time for Christmas and after several months in the making, I am delighted to share some very exciting news about recent work I have been doing for top Scottish luxury leather goods brand Strathberry.
For those of you who don’t know, Strathberry is based in Edinburgh’s West End and has a retail outlet in the city’s Multrees Walk, along with 3 stunning boutiques in London’s Covent Garden, Kings Road and Burlington Arcade.
They are internationally renowned for producing high quality, beautifully hand-crafted handbags and are the go-to brand for the likes of Kate Middleton and Meghan Markle according to Marie Claire.
The Commission
It was just over a year ago that I was approached by Amber, Chief Marketing Officer at Strathberry, in a particularly serendipitous twist of fate. The company was about to celebrate its 10th anniversary and wished to use their stunning 4 storey Georgian townhouse, in Edinburgh’s Melville Street, as the new face of the brand. She had googled ‘Edinburgh artist’ and, as a result of that search, came across a previous blog post of mine where I had detailed the various stages towards completion of a commission I had recently done of a similar townhouse in the city’s Rutland Square (see that image below and click here to read that post).
Impressed by the end results of that project and looking for something similar but uniquely ‘Strathberry’, they commissioned me to produce a detailed ink drawing of their HQ. The brief was not only to create something that was representative but something that could also be utilised in a variety of novel ways going forward: for example, an image that might be flexible enough to appear on packaging, tissue paper and product care booklets, as well as being featured in a variety of media online and in print.
With all of that in mind, I created the image above – deceptively simple in design and finish, but far from simple to produce. In order to fit the whole building into the frame (including the roof and chimneys as well as the basement) I had to somehow show it from mid height (I used a drone to get a variety of photos at different heights for this purpose). However, this created its own problems in that a bird’s eye perspective had the effect of warping the entire image, revealing too much basement and moving the focal point away from what I hoped would be a welcoming doorway that would lead the viewers into the building – so to speak.
In the end, and after a couple of time consuming false starts, I managed to compose an image which shows the entire building without warping the perspective at all, while giving equal prominence to every storey (roof and basement too) but maintaining the entrance way as the main focal point. I submitted my final ink drawing in April and, thankfully, Strathberry owners Guy and Leanne were delighted with the result.
Now it was time to paint the townhouse (see below)!
Again, I wanted to keep the painting as simple but effective as possible, while showing the Strathberry townhouse at its very best. 34 Melville Street, Edinburgh is not only the company HQ, but it’s also the place where products are designed and marketed (as shown to great effect in the magical Christmas animation above). It also happens to house a sumptuous showroom on the ground floor. All in all, Strathberry HQ is an extremely elegant Edinburgh townhouse – sophisticated, yet warm and welcoming – and I hope to have created something that reflects those qualities with these images.
Commissions are never straight forward or relaxed affairs but, much to my relief, Guy and Leanne were again delighted with the final painting, which I delivered in June (see handover picture below).
I’ll post a more detailed account of the whole procedure in a future blog piece, including a stage by stage breakdown of the creative process involved. But for now I just wanted to show the final images produced for this prestigious commission and give a little more information about how Strathberry have been using my images to help celebrate their 10th anniversary and also to showcase their stunning World Heritage listed HQ.
And and how’s this for a bit of unashamed name dropping … ? I was recently informed that ex US president Bill Clinton, while on a shopping trip to London, was entranced by the animation while walking through the Burlington Arcade store. So much so that after watching the whole clip he was enticed into the store and purchased 4 handbags for Hilary and Chelsea!
Strathberry have also used an inverted version of the ink drawing on menus for a recent press event at the Kimpton Hotel in Edinburgh.
The Strathberry story will continue to develop over coming years and I am very excited to see how the image I created for the company will be utilised in exciting new ways going forward.
In the meantime, I hope to do more of this kind of work in future. So if you are looking for a similar (but different!) picture of your own elegant townhouse, or anywhere else for that matter, and would like to discuss how to make that happen, then please do not hesitate to get in touch via the contact page or by emailing me at: cliveramage@gmail.com
Wishing you a very Merry Christmas and a prosperous and Happy New Year!
Scottish Landscape Awards at the City Art Centre, Edinburgh (4 Nov 2023 – 3 March 2024)
Saturday 4 November saw the opening of the inaugural Scottish Landscape Awards (SLAs) at Edinburgh’s City Art Centre.
And I was delighted to be able to attend the highly anticipated private view of this prestigious new exhibition the evening before, having had my etching of Dunnottar Castle shortlisted for the SLAs back in July.
It was one of only 133 artworks to be shortlisted from almost 3000 entries and, although it didn’t win a prize, I was extremely proud to see it hanging in a fantastic spot in one of the country’s best and most visited public galleries.
It was a wonderful evening of catching up with some old friends in my former Edinburgh stomping ground, as well as meeting a few of my own favourite artists for the first time. It also allowed me to see what’s happening right now at the sharp end of Scottish landscape painting and printmaking.
The variety of work on show at the Scottish Landscape Awards – not to mention the talent and skill employed to create it – ensure that this is a hugely enjoyable exhibition for artists and art lovers alike, showcasing the country’s huge diversity in subject matter and the many different and intriguing techniques used to create the pieces.
And, of course, its always great to see your work shown alongside your peers and some of this country’s most successful and admired artists.
My image of Dunnottar Castle came about as part of a commission I was awarded by Aberdeen Art Galleries & Museums in January 2023. Click here to learn more about and the various printmaking methods I used in its creation. I am also very proud to have an artist’s proof of this print, along with the 3 others I produced for that commission, in Aberdeen Art Galleries & Museums’ permanent art collection.
This has been a particularly busy and hugely rewarding year for me so far: with two successful solo shows under my belt at Frames Gallery in Perth and Inverness Creative Academy; the aforementioned commission from Aberdeen Art Galleries & Museums; and another for luxury Edinburgh-based leather goods brand Strathberry Ltd (of which there will be more to report soon).
And having my work included in the inaugural Scottish Landscape Awards exhibition, as well as featured in the gorgeous catalogue that accompanies the show, means that this has also been my most successful year to date.
But it doesn’t end there for 2023, or for this particular print! I am happy to say that Dunnottar Castle is also featured in the Meffan Art Gallery annual winter show, which opened in Forfar on Friday 10 November.
As for the rest of the year, I will be working hard to produce new paintings and prints for my next solo show, which is at Graystone Gallery in Edinburgh in February. Details to follow, but I am excited to be the first artist to have a solo show at their brand-new gallery premises in Stockbridge.
The Scottish Landscape Awards is on until 3 March 2024 at the City Art Centre, Edinburgh. Click here to buy a gorgeous catalogue featuring every picture in the exhibition.
Dunnottar Castle, in a limited edition of only 40 signed and numbered prints, is currently available to purchase (in a frame) at the City Art Centre, Edinburgh and the Meffan Institute, Forfar. Unframed prints can also be bought directly from my shop by clicking here.
Aberdeen Art Galleries and Museums – Micro Commission
How it all came about
I was initially told about the Aberdeen Art Gallery & Museums (AAGM) Micro-commissions by a studio colleague the day before the deadline. I was in the middle of moving into my new studio and packing for a New Year trip to Crovie the following day. However, as a relative newcomer to Aberdeen and having spent many hours admiring the gallery’s fantastic collection, my interest had been piqued! I downloaded the application form and had a first draft written within an hour.
The brief
Applicants were asked to say something about their lived experience in the city, addressing themes that might include social justice, climate change, identity, well-being and migration, while responding to something that was already part of the AAGM collection.
I thought it could be a challenge to come up with an exciting print-based project that would test some of my recently acquired printmaking skills, especially in screen and photopolymer printing. And, in the unlikely event my proposal was successful, I might just about manage to complete the rather ambitious project I had put together in my mind, despite having already committed to 2 solo shows and another important commission – all of which were to be fulfilled before the AAGM June deadline!
No holiday for me … not yet anyway!
So the first day of our supposedly relaxing holiday was spent editing my application and it was submitted within an hour of the deadline.
Having never applied for anything like this before, I resignedly put the whole experience down to good practice and relaxed for the rest of our trip.
Success!
Around 4 weeks later, having forgotten all about my application and while frantically finishing several paintings and working on the final preparations for my early March solo show, I received an email to say my proposal had in fact been successful!
My initial elation and surprise at this great news were suddenly followed by a gut-wrenching dread that I might just have overstretched myself! But I do love a challenge and that’s exactly what the following 5 months proved to be!
The Proposal
In selecting a work from the AAGM collection as an initial reference for my own project, John Piper’s powerfully atmospheric painting of Dunnottar Castle immediately sprang to mind. Like many of his works, it perfectly captures with great drama and deceptive simplicity the beauty that can often be found even in a crumbling old building. This got me thinking about how the disintegration of one thing can lead to something new and possibly even more beautiful in its place (a painting in this instance, but also the castle itself).
From here I travelled north in my mind to Aberdeen city centre and thought of the recently opened Union Terrace Gardens and how they have helped to rejuvenate that part of the city.
I then took a short trip across Union Street to the recently demolished Aberdeen Market and pondered how that has provided an opportunity (and also hope) that something better might arise out of the dust and rubble.
I decided to produce a triptych of handmade prints exploring the theme of disintegration in relation to those three well-loved local sites. To bring these ideas to fruition I wanted to use three different printmaking techniques, which would reflect the past, present and future in their own way.
Three Different subjects printed three different ways
Disintegration
Disintegration, the first piece in the triptych, is a traditional copper-plate etching inspired by John Piper’s painting of Dunnottar Castle.
Transformation
The middle piece, Transformation, depicts Union Terrace Gardens and contrasts old and new features now present in the gardens and also in the methods used to create the print.
It combines very traditional etching techniques like chine collé above to add colour to the print …
… alongside methods employed in contemporary digital photography.
Anticipation
Anticipation focuses on the Aberdeen Market area and poses the question: what does the future hold for this site?
Photoshop was used to combine a drone-captured digital image with an interpretation of the Herakut mural from the old Aberdeen Market.
The Micro Commission Experience
Working on the AAGM Micro-commission has been a fantastic experience as well as a great opportunity to learn. Not only because it has allowed me to develop and test my skills in traditional and photopolymer etching, as well as screen printing, but the funding that was provided by the Friends of Aberdeen Art Gallery and Museums has also enabled me to produce an entirely new stand-alone series of prints that are quite different from anything I have done before. It is also wonderful to know that my triptych has been accessioned into the AAGM permanent collection.
I would advise anyone who is interested in applying to the next round of Micro-commissions to absolutely go for it. This has been a hugely rewarding experience and has shown me what I can achieve under intense pressure.
And finally …
Finally, I would like to say a huge THANK YOU to the Friends of Aberdeen Art Gallery and Museums for providing the £2500 funding that enabled my Micro Commission, and many thanks also to Shona Elliot and all the staff at AAGM for their excellent support throughout. I’d also like to thank the staff at Peacock Print Studio and, in particular, James Vaas and Struan Hamilton who have both been very generous with their time, patience and expertise throughout this process.
I will put together another post soon where I will go into more detail about the making of each print in the triptych … watch this space!
Last week of my show at Inverness Creative Academy – Artist talk Fri 14th July
This is the final week of my solo show Paintings & Prints From Scotland To The Moon at Inverness Creative Academy.
I’ll be on site from 2-3.30pm this Friday 14th July to give visitors a guided walk around the 40 pictures. I’ll discuss the many techniques I use to create the works as well as the inspirations and ideas behind them. I’ll also be more than happy to answer any questions about my practice and experience of working as a full-time artist.
It’s free entry so just show up at the cafe at 2pm and say hello. I’ll look forward to meeting you then!
Paintings & Prints From Scotland To The Moon is on until Saturday 15th July at 4pm.
Open daily until then 10-5pm.
Happy New Year and Happy New Studio!
Just a quick post to wish you all a very Happy New Year!
I am especially grateful to those of you who have very kindly supported me by purshcasing my work this past year and in previous years too! Every single painting and print that you buy really does help me to continue to keep making new work, and for that I am extremely grateful! And, while I love what I do, it’s not always easy to keep going, especially in this economic climate.
But very special thanks must be given to my truly wonderful, kind and ever-supportive partner Pam. Without her help in so many ways, without her great patience, kindness and generosity and her all-round gorgousness life would simply be so much harder indeed! I love you Pammy and want to say the biggest !!THANK YOU!! from the bottom of my heart for everything you have done and still do for me! You really are the best!!
There’s plenty more to write about just now and I’ll post a fuller update on my recent studio move and some upcoming solo shows very soon. But in the meantime, I wish you all a very Happy New Year and here’s to a highly creative, productive, successful and – not least – fun-filled 2023!
New Work with Ballater Gallery at Aberdeen Art Fair 2022
I am delighted to be showing two recently finished large oil paintings for the first time with Ballater Gallery at this weekend’s Aberdeen Art Fair (details below)
Dunnottar Castle
Dunnottar Castle is quite possibly THE perfect landscape painter’s subject. Sitting atop a magestic outcrop of rusty red sandstone, surrounded by constantly changing seas and skies, it’s sheer immensity and magnificence are breathtaking – the scene simply demands to be painted!
My favourite place to paint!
The above painting is the view from the little bridge that spans the deep gully and leads to the cliffs on the western side of the castle. Those cliffs have also been a favourite haunt of mine over the past few months and are a great spot to paint en plein air (below).
After spending several months working on this particular painting – and trying do the scene the justice it deserves – it will be great to see it hanging at the Aberdeen Art Fair (AAF) from this Friday.
Preview 6–9pm at Aberdeen Music Hall
Muckle Flugga – the UK’s northernmost lighthouse
Also on show at Aberdeen Art Fair with Ballater Gallery will be this newly finished oil painting of the mighty Muckle Flugga!
Muckle Flugga (Old Norse Mikla Flugey, meaning “large steep-sided island”) is the northernmost point of the British Isles and, in my own humble opinion, has to be one of the most dramatic lighthouse locations on Earth.
I hope to have captured something of the rugged nature of the rock itself, but also of the precariousness of that lonely lighthouse perched upon it. The perpetual crashing of great ocean waves has done little to change this scene since the lighthouse was built in 1854. But nothing lasts for ever – apart from oil paintings hopefully!
Maybe see you at the preview!
Details for Aberdeen Art Fair
Preview Evening: Friday 2nd September 6pm – 9pm
Opening times: 10 – 5pm Saturday 3rd & Sunday 4th September
Find Ballater Gallery on Stand 12.
Free entry for all for both the preview evening and Saturday/Sunday
Happy New Year!
Just a quick note to wish you a very Happy New Year and also to say a huge !!THANK YOU!! to everyone who bought my paintings and, therefore, supported me greatly in my work throughout 2021.
Lots of very good things happened this past year, including my move to Aberdeen and settling into a great new studio here. I’ve also recently begun working with some local galleries (including Ballater and Braemar) and have lots of energy and inspiration for new pictures to paint and send to them, as well as to my regular galleries in the coming months.
Keep an eye out here for news of my latest works in progress and exhibitions, including Land & Sea which opens later this month at Heriot Gallery in Dundas Street, Edinburgh.
In the meantime, I wish you a safe, prosperous and very happy 2022!