Interning for the voluntary sector

Last Friday, Art in Healthcare (AiH) opened 'Art from Art', an exhibition of works created during artist-led workshops in care settings across Edinburgh. Such a project takes much time to set up, a challenging task for a small organisation run by part-time staff and beyond their dedicated volunteers’ call of duty. 

Opening of 'Art from Art' exhibition in the Whitespace gallery

image courtesy of AiH

How did AiH manage to pull this off? 

Outreach Manager Amelia Calvert explains that they have been very fortunate to benefit from the assistance of four interns over these past few months. Each one works closely with a permanent member of staff on specific tasks and areas selected to match their requirements and interests, curating, publicity, IT, administration, art therapy. The four interns follow three very different internship models. 

The two unpaid students from Edinburgh University Art History department come to the office once a week and their placement is an integral and assessed part of their postgraduate art degree. 
The Scottish-based intern was recruited by Community Jobs Scotland, a programme that places young jobseekers into full-time paid employment with non-profit organisations and the graduate from Spain is on a full-time paid European internship programme. 

Edinburgh University students  

Urara and Hayley curating artworks

image courtesy of AiH

How does it all work out? 
“The interns come to the office on a regular basis” says Amelia “they can be assigned specific tasks to be completed over a long period of time. In this way they are more like members of staff than volunteers. Also, they all have in common an inclination to build up skills and experience that might aid their studies and/or future job applications. For this reason, we aim to give them projects that they can ‘get their teeth stuck into’ and call their own. We fully rely on them as if members of staff so that they can appreciate what it’s like to be committed to work for an organisation." 

What about the time AiH has to invest in training these new recruits? 
“Granted it takes time and energy to train them and oversee their work” Amelia continues “but we generally find this is worthwhile for the input that they give back to us.” 

'Art from Art' exhibition display

image courtesy of AiH

A win-win situation 
The feedback from the interns is equally positive and reflects the adjustments each has had to make and what they gained in the process. “I am hoping to gain a general understanding of how a small arts-based organisation works – which I think I am!” says Hayley Thomson. “My responsibilities within the team have extended to a wider range of activities than I had expected, but I enjoy it a lot... I think I definitely have improved my communication skills... My time at AiH has broadened my understanding and interpretation of art and its impact on society.” says Urara Hatano. 

Amelia concludes “Furthermore, we feel we are helping to launch the career of keen young workers, which is the least we can do in a society where jobs and ‘having something to do’ is not always easy to come by...”

Martine Foltier Pugh is a freelance writer and visual artist based in Edinburgh

Credits
With thanks to Amelia Calvert, AiH Outreach Manager, Urara Hatano and Hayley Thompson for their contribution.

Links
European internships http://www.europe-internship.com/
Community Jobs Scotlandhttp://www.scvo.org.uk/training-employability/community-jobs-scotland/
History of Art, Edinburgh University http://www.ed.ac.uk/schools-departments/edinburgh-college-art/history-art

Artist Uncovered: Alastair Clark

Colour can provoke a powerful emotion in artists, Claude Monet called it an ‘obsession’, and it is this passion for colour that comes through first in printmaker Alastair Clark’s intense images.

Studio shot of work in progress
image courtesy of Alastair Clark

Glasgow born Clark graduated from Edinburgh College of Art in Drawing and Painting in 1990 and went on to specialise in printmaking. He is now Assistant Director of Edinburgh Printmakers Workshop where we meet early one morning before the start of his busy day.

  

He explains that his practice is about the transformative process of printmaking that gives him the freedom to edit images and experiment with tones and that unlike painting where every brushstroke is locked into an unbreakable sequence, printmaking allows him to go back a step or two or more to introduce a different hue or a different perspective.

It is the energy and the beauty of the forces of nature that inspire Clark. Working from satellite image sequences, he takes on those great swirls that permeate our everyday consciousness and shock us with their power for destruction and step by step constructs series of images which although still recognisable are now essentially abstract.

If you get close enough you will notice subtle and deliberate marks in pen
and pastel which are there to remind us that the artist retains manual control over the mechanical printing process.

Ammonite sky, lithograph, 30 x 84 cm
image courtesy of Alastair Clark

He describes his method in his website:

“The prints Longwave and Ammonite Sky were inspired by the Tsunami of Boxing Day 2004, their long shapes originating from weather satellite imagery which I stretched and enhanced until they reminded me of a wave, notably the Japanese printmaker Hiroshige’s famous wave, which also represented a Tsunami.”

Art in Healthcare owns three of Clark’s prints, including this two-part screenprint / lithograph entitled Red Sky at night where the close up view on the left enables us to observe a detail from the bigger picture. Clark often uses this diptych format as a device to provoke our curiosity. For him art and science share the same purpose which is to make us question the world around us.

Red Sky at night, screenprint/lithograph, 83 x 57 cm
Art in Healthcare collection

For the Skylight series Clark worked with the Aurora Borealis which he describes as an elusive mystical phenomenon that few are privileged to witness. 

Skylight 2, pigmented inkjet print, 58 x 42 cm
image courtesy of Alastair Clark

After a sighting in Edinburgh, he started by drawing on paper with pastel, he then scanned these drawings and combined them with digital images to reconstruct the display of pure energy he had experienced. With this process of altered reality, Clark certainly gives the series a multi faceted mythical perspective.

There is humour too as the skylight component is a reference to the small aperture near the magnetic poles through which the charged particles enter the earth atmosphere.

Borders and edges are of particular importance to printmakers and Clark’s more recent work plays around with this element. His 2011 ‘Skyshapes’ series, consists of assembled weather satellite scans printed on delineated MDF supports which seem to be floating off the wall. He is currently pushing this idea further still by meticulously creating fictitious islands constructed from pieces of Scottish islands. With these he intends to explore climatic change by showing the relationship between the land and the elements. 

Squall, laser cut archival inkjet print, 40 x 47 cm
image courtesy of Alastair Clark

 

Martine Foltier Pugh is a freelance writer and visual artist based in Edinburgh

Credits

Thank you to Alastair Clark for his time and for the use of his images.

Links

Alastair Clark's website http://www.aclark.org.uk/index.html

Edinburgh Printmakers Workshop http://www.edinburghprintmakers.co.uk/ 

A busy year ahead

For the first blog this year, I asked Trevor Jones, Art in Healthcare director, what new projects we could look forward to in 2013.

Forthcoming exhibition

The first exciting event is an exhibition entitled 'Art from Art' in February of 120 artworks created in response to the AiH collection during artist-led workshops in various settings in and around Edinburgh. The November blog ‘Art in Healthcare Reaches Out’ showcased one of these workshops organised by Leo du Feu at the Royal Hospital for Sick Children. 'Art from Art' will open on Friday 8 February in the Whitespace Gallery in Edinburgh, for full details see AiH page on Facebook or contact  outreachmanager@artinhealthcare.org.uk

 Rainbow Owl by Joy, aged 11

Image courtesy of Leo du Feu

Art management

One of AiH services is to manage existing art collections on behalf of health organisations, such as for instance the vast NHS Lothian collection. AiH has now been appointed Art Coordinator for NHS Fife’s Glenwood Health Centre currently being refurbished and due to reopen later this year.

Glenwood Health Centre is situated in Glenrothes, a town that has been associated with art since its planning in the post-World War II years when it appointed its first town artist, David Harding, in 1968. This was a bold and progressive appointment and Harding worked with the architects from the design stage. 

David Harding, Henge, 1970, Glenrothes public art

Image courtesy of David Harding

Harding worked closely with the people of Glenrothes and his sculptural works along with those of the artists who followed him provide us today with great art walks all around the town. For more details, see the link to the Historic Scotland publication below. It is heartening to see this tradition being carried forward today and that art is part of the planning of the Health Centre rather than as an afterthought.

Acquisition from emerging artist

Trevor also tells me that, thanks to funding from the Hope Scott Trust, AiH will be able to purchase artworks from this year’s New Contemporaries exhibition at the Royal Scottish Academy in Edinburgh. This exhibition, held in March, shows the works of some sixty artists, all recent graduates from the five art colleges in Scotland.

Heather Pugh, Going, Going, Gone, mixed media, 37 x 42 x 8.5 cm

Art in Healthcare Collection

Acquisition of artworks from emerging artists’ is an excellent way of keeping collections fresh. Last year, AiH purchased ten collage paintings by Heather Pugh who studied at Gray’s School of Art in Aberdeen. She is featured in last May’s ‘Uncovered Artist’ blog which explains her practice and inspiration from everyday objects. Her colourful and intriguing collages are now brightening up the mood of patients, staff and visitors who walk along the corridors of the Royal Victoria Building at the Western General Hospital in Edinburgh.

Expanding the online database

AiH are planning this year to photograph, label and make accessible to viewing online all the artworks from their own collection and from the NHS Lothian collection. Together these collections represent a remarkable resource of approximately 3,500 works spanning some 400 years, thousands of artists and a breathtaking variety of genres, styles and media.

This is going to be a busy year for Art in Healthcare. You can follow all their news and projects on Facebook.

Thank you for visiting this blog and may 2013 be all you wish it to be!

Martine Foltier Pugh is a freelance writer and visual artist based in Edinburgh

Credits

Thank you to Trevor Jones for his information
and to David Harding for providing the image of Henge, one of his Glenrothes artworks. 

Links

The Whitespace Gallery  http://www.whitespace11.com/

'David Harding Glenrothes Town Artist' http://www.davidharding.net/?page_id=37 
Historic Scotland 'Glenrothes Town Art' http://www.historic-scotland.gov.uk/glenrothestownart. 
The Royal Scottish Academy http://www.royalscottishacademy.org/pages/menu_page.asp
Gray's School of Art http://www.rgu.ac.uk/about/faculties-schools-and-departments/faculty-of-design-and-technology/gray-s-school-of-art/gray-s-school-of-art

Artist Uncovered: Reinhard Behrens

The assemblage quietly catches your attention. As you get closer you begin to marvel at the expert drawing, at the 3D effect that raises the objects off the paper. Then you puzzle over the surreal juxtaposition of an old wooden spoon, the gnarled sole of a shoe, an undefined scrap of metal but also a carrot and an onion, all laid out formally below a quasi photographic drawing of an old house, standing empty in a barren landscape. You wonder at the story hinted at, you also wonder at the time and dedication invested by the artist on such mundane objects.



Carrots Onions and Rust coloured pencil 54x75cm
Art in Healthcare collection

This drawing and the other pencil and pastel works by Reinhard Behrens in the Art in Healthcare collection illustrate the artist’s talent as a storyteller, his predilection for commonplace rejects that his consummate drawing skills transform into works of art. They also refer to the German born artist’s early training as an archaeological draughtsman acquired during an excavation in Turkey one summer while studying at Hamburg College of Art. This trip far away from home was going to bring about the most defining moment in his life.

The Smith Sterling etching 89x70cm

Art in Healthcare collection

He tells us the story in his website, how while recovering from a sunstroke, he happened to notice in a local newspaper the account of a collision in the Bosphorus strait between a cargo ship and a submarine. The only word he could read on the page was the name of that ship NABOLAND. The submarine reminded him of the toy he had found on the North Sea coast the year before. On that feverish day, the coincidence of these events helped him evolve an extraordinary plan.  He would put all his artistic skills towards piecing together the existence of Naboland, the land of his imagination, through detailed accounts and documentation. This was 1975 and he is still pursuing this quest today.

Lochnagar pencil and pastel 74x104cm

Art in Healthcare collection

Behrens’ realistic style of drawing was inspired by one of his tutors in Hamburg, Rudolph Hausner, a prominent member of the Vienna School of Fantastic Realism. This group, formed in the aftermath of WWII, used the techniques of the Old Masters to achieve lifelike resemblance. Contrary to Surrealist painters like René Magritte or Salvador Dalí, they did not privilege the irrational but rather sought to merge it with conscious imagery by adding fantastic elements into their paintings. The results are dreamlike scenes that evoke convincing alternative realities. They thought of their paintings not as escape from reality but more as therapeutic means that allow you to forget for a while the conflicts you experience and to return to reality feeling stronger for it.

Lochnagar II pencil and pastel 69x99cm

Art in Healthcare collection

In 1979 Behrens came to study at Edinburgh College of Art on a one-year scholarship. He spent some of that time eagerly exploring Scotland and joined the Mountaineering club in order to climb the Highland peaks in winter to get a feel of what Scott's Polar expeditions might have been like. And although his English was not fluent yet, he was nonetheless charmed by the local wit. He would bring these Romantic endeavours, Man against Nature, explorations of uncharted territories, and the humour back into his studio where they would fuse into his imaginary worlds populated by a plethora of discarded objects picked along the way, bones, feathers and other precious detritus, and of course by the yellow submarine, the magic talisman which made these travels possible.

San Gimignano, Nowhere to land  acrylic and oil  171x122cm

image courtesy of R Behrens

After settling down in Scotland in the early eighties, Behrens travelled around Europe and to Nepal and became also fascinated by the desert, possibly as a relief from the monochrome snow, all the time pushing further the boundaries of Naboland with his illusionistic paintings, drawings and installations into which he invests the same obsessive attention to details. His installations purport to be replicas of the huts or sledges used during polar explorations and amaze visitors not only by their air of authenticity but also by their uncanny reduced scale.

Hunters in the Snow (after Breugel) acrylic and oil 122x171cm

image courtesy of R Behrens

Similarly the insertion of the yellow submarine, made airborne when it suits the topography, in his breathtaking copies of Old Masters force the viewers to double take. Is this not what we expect of artists, to shake us out of our ‘normality’, to make us contemplate other possibilities? Behrens uses ambivalence, humour and gentle satire to great effect. He even reinvented the origins of golf in an installation exhibited in St Andrews itself, the alleged birthplace of the game. The catalogue, a work of art in its own right, is supposed to reveal the rules but the text is mostly illegible, although written in English, due to the tight German blackletter handwriting the artist used throughout!

‘The Origins of Golfing’ exhibition catalogue

image courtesy of R Behrens and Fife Contemporary Art and Craft

Behrens has lived in Pittenweem on the southern coast of Fife since 1986. He has been lecturing at Duncan of Jordanstone College of Art and Design since 1995. Last summer I visited his house which he opens to the public during the town’s annual Arts Festival. I was able to admire his paintings and drawings – as well as those of the other talented members of his family - and was delighted to find that his front room is dedicated to an installation reproducing the interior of the submarine. This is in fact the film set for a stop motion animation that has been occupying much of Behrens' time lately. This short film 'Naboland News' pretends to be a recently discovered news reel of the submarine's travels. It involves penguins, desert scenes and the Himalayas. The film will not be released for another couple of years but you can have a preview by going to http://www2.jpscotland.co.uk/artsblog/2009/08/naboland-movie.html. 

In the meantime, the film set - installation allows you an insight into the living conditions of early 20c explorers. The lighting alternates between lit areas and shadows and every tin, jar, old photograph and scrap of fabric looks absolutely genuine. The more you look the more you become enthralled and forget about what is going on outside.

Thank you Reinhard Behrens for sharing your world-s with us!

Martine Foltier Pugh is a freelance writer and visual artist based in Edinburgh

Credits

Thank you to Reinhard Behrens for his information and for the permission to use his images

and to Diana Sykes and Susan Davis of Fife Contemporary Art and Craft for providing me with the catalogue cover for 'The Origins of Golfing'.

Links

Naboland - the art of Reinhard Behrens http://www.naboland.co.uk/
Fife Contemporary Art and Craft http://www.fcac.co.uk/
Lochnagar http://www.scotclimb.org.uk/lochnagar.shtml
The Vienna School of Fantastic Realism http://www.telusplanet.net/public/ottorapp/page66.html
RF Scott http://en.wikipedia.org/wiki/Robert_Falcon_Scott
Pittenweem Arts Festival 2013 http://www.pittenweemartsfestival.co.uk/

Art in Healthcare Reaches Out

If you think that Art in Healthcare (AIH) is only about displaying their collection of artworks on walls in hospitals and care centres, then you will be interested to learn that, as part of a pilot programme, Amelia Calvert, AiH Outreach Manager, has been organising a series of artist-led workshops in a variety of settings around Edinburgh for people of all ages and needs.

One of the artists, painter Leo du Feu, led two workshops at the Royal Hospital for Sick Children. He explains in his own blog that he was asked by AiH to select one of about 600 artworks currently available from their collection on which to base his workshops aimed at children aged between 3 and 11. A keen birdwatcher himself, he chose a stylised lithograph of a bird by Colin Thoms, a great choice which was bound to appeal to children. And indeed they responded wonderfully well as we can see from the images of collaged pictures that illustrate Leo’s blog, using different media and techniques and sometimes in collaboration with another child. Their lively pictures speak for themselves of the fun the children had. 

Colin Thoms  Bird, Tree and Red Sun lithograph 49x65cm

AiH collection

AiH repeated this process with other artists and with various organisations around Edinburgh such as the Libertus Day Centre, St Crispins School and Contact the Elderly. The latter group was kindly given permission by the National Gallery of Scotland to meet within their premises and were able to view some of their paintings as well as those from the AiH collection. The feedback from participants and organisations has been overwhelmingly positive. Staff commented on the unusual focus and engagement of all the participants, how they enjoyed creating the artwork and the different techniques offered to them, often revealing very individual responses. All felt that they would have liked more sessions and some thought that the participants would benefit even more if the sessions were particularly suited to their needs. On that last point there is also the argument to consider that perhaps part of the participants’ enjoyment was down to the input of ‘fresh energy’, in Amelia’s words, into the setting by an external practitioner.

Rainbow Owl by Joy, age 11 

image courtesy of Leo du Feu

It takes a particular set of skills to lead art sessions in healthcare settings. The artists selected by AiH for the pilot scheme are not only all practising artists but they also have had prior experience of running such groups. They have already proved their ability to engage with people and to create a relaxing environment that brings out the participants’ creativity. In short and again in Amelia’s words, they are ‘great with people’. As artists they know what different techniques can do and which ones are best suited to the participants’ age and abilities and with their interpersonal skills and their aptitude at dealing with emotions through art, they know how to help the participants express their feelings visually, focusing on the process rather than the end product.

Colourful Bird background by Keegan, age 4

bird and leaves by Jessie, age 6

image courtesy of Leo du Feu

This six months pilot programme was made possible with government funding.  AiH would like to take it further with longer term sessions of workshops and more sustained interaction between the artists and the participants but as with everything else, it is a matter of securing the necessary funding. This programme has been an important learning experience for all involved: for the participants and their carers, for the AiH managers who, incidentally, are all practising artists themselves, and also for the artists. They now have the know-how to build on its success. They have been recently given funding from Age Scotland for another set of workshops. Let us hope there will be many more to follow. You can keep up to date with their Outreach Projects by following AiH on Facebook.

Blackbird by Finn, age 5

image courtesy of Leo du Feu

When the programme ends in January, AiH will be bringing together many of the artworks created during the workshops in an exhibition that will reunite them with the original works from the AiH collection that inspired them.  This promises to brighten up our dark winter days.

Martine Foltier Pugh is a freelance writer and visual artist based in Edinburgh

Credits

Thank you

to Amelia Calvert, Art in Healthcare Outreach Manager, for providing me with the information on the current programme and vision for the future

and to Leo du Feu for giving me access to his blog. The results of his workshop at the Royal Hospital for Sick Children can be seen here:
http://landscapeartnaturebirds.blogspot.co.uk/2012/09/painting-birds-in-royal-hospital-for.html  If you wish to hear of Leo's future exhibitions or to discuss workshops you can email him at leo@leodufeu.co.uk

Links

http://www.baat.org/art_therapy.html  The British Association of Art Therapists

http://www.independent.co.uk/news/people/obituary-colin-thoms-1259245.html About the life and art of Colin Thoms

http://www.leodufeu.co.uk/ Leo du Feu’s website

http://www.ageuk.org.uk/scotland/ Age Scotland 

Artist Uncovered: David Michie OBE, RSA, FRSA

David Michie hardly needs ‘uncovering’. His successful career as an artist and educator spans some sixty years, he has works in international collections, is affiliated to the major British art associations and credited with many distinctions and awards.  I am slightly intimidated at the thought of meeting him but this feeling is soon dispelled, the master is also a charming man.

When entering his studio, I cannot help but remark how tidy it is with rows of paintings neatly stacked against the walls. He assures me this is quite unusual and due to a recent cataloguing exercise he carried out with the help of his daughter. I also notice the many paints and brushes on the table next to the easel.  

David Michie’s studio

image M F Pugh

Perhaps this allusion to order prompts David Michie to start by saying that he has never had what we call today a career path, he simply reacts to what he sees. His inspiration comes from chance observations made for instance while relaxing with family and friends. The cyclists who rode past him at the cafe terrace in Spain reminded him of Assyrian statuary with their taut facial expressions and elongated helmets, the cloud of shimmering damselflies he came across during a family picnic and the contrast between man-made linearity and the undulation of plants he observed while strolling through his friends’ garden, not just any friends but John Houston and Elizabeth Blackadder, all spawned new series of works. 

He has always carried a small sketchbook in his pocket to draw and write down his observations on the spot during his many travels abroad or while walking around Edinburgh. These notebooks are stacked on a small table and are classified in such a way that he can immediately retrieve the drawing that illustrates the point he is making. As he leafs through the pages, his favourite motifs emerge: insects, orchids, plants, cyclists, skateboarders, dancing couples all beautifully drawn with linear pen strokes.

Flower Border etching, 70x79cm

Art in Healthcare collection

When describing these motifs, David Michie’s passion for colours and spectacle shines.  He spent the first six years of his life in St-Jean-Cap-Ferrat, an exclusive resort on the French riviera where the young David revelled in the Mediterranean sun and joie de vivre. The Michie family’s stay in the south of France between 1925 and 1934 when they returned home to the Scottish Borders, has all the ingredients of a novel: an American millionaire, a palatial villa in need of upgrading, a talented architect and artist in residence (his father James Michie), and the abrupt ending when the millions disappeared in the Wall Street Crash. But for a few years the three Michie boys (David and his two older brothers Alastair and Lindsay) led an idyllic free-roaming existence on the estate, looked after by their mother who would become later the celebrated painter Anne Redpath.  We can imagine the inquisitive little boy discovering the natural world around him, the lyrical sensitivity of later years taking shape in the artistic ambience fostered by his parents.

Poppy Heads screenprint, 44x57cm

Art in Healthcare collection

He also recalls the excitement that the arrival of street entertainers to St Jean created in the household, how he enjoyed their acrobatics and the carnival atmosphere and how years later, during the Edinburgh Jazz Festival, he would follow the bands from the High Street down to the Grassmarket with the same enjoyment, capturing the moment in his notebook. He once went to see the Argentinian dance company ‘Tango Pasión’ when they came to Edinburgh and, even in the dark, managed to make annotations that he used later to compose his witty paintings of dancing couples.

The Dance Hall, Afternoon oil on board, 20x20cm
image courtesy of The Scottish Gallery

These direct notes are indispensable to the realisation of his creative process. David Michie describes his art as “a poetic response to what I have experienced” after the famous quote from William Wordsworth, the Romantic poet, who defined poetry as “the spontaneous overflow of powerful emotions recollected in tranquillity”. When back in the seclusion of his studio the painter’s emotions go through their final transformation into artworks that he describes as “a marriage of his inspiration and the painting composition that have to be authentic in the language of painting”.

This summer, the Scottish Gallery curated an exhibition entitled ‘The Michie Family’ which brought together works by his mother Anne Redpath, his father James, his brother Alastair and some of his own paintings. When I ask if this retrospective brought any surprises, David Michie confides that he had never thought of his relatives and himself as part of a quartet before as they all came to painting from different directions. I wondered if the reunion of the works might have revealed some shared trait, the way blood relations that have been separated all their lives turn out to display similar mannerisms. After pointing out that any resemblance between the four comes from the particular thinking of the time that is common among contemporaries, he reflects that perhaps there is a certain shared temperament between them and a structure that comes from training and discipline.

Damselfly on a Leaf oil on canvas, 38x38cm
image courtesy of The Scottish Gallery

The minutes fly quickly in the company of David Michie but after over an hour, it is nearly time for me to leave. We talk about the work of Art in Healthcare and look at his works in the collection. He reminds me how things have changed since the time when hospital walls were kept bare to avoid dust.

As to the artworks we can expect to see in the future, he showed me a series of prints made from recently rediscovered copper plates he etched in the 1980s during a visit to Belgrade where he felt completely disorientated because all the street signs were in Cyrillic. This cultural shock had the effect of sharpening further still his sense of observation. The plates were cleaned up and the prints are as fresh today as when they were new. I am spellbound as he flips over print after print of wonderful black and white streetscapes, displaying his characteristic wit. This show should not be missed when the time comes.


Martine Foltier Pugh is a freelance writer and visual artist based in Edinburgh

... in addition, I spoke to David Michie since our meeting and he mentioned what a pity it was that we had not talked about the French cineasts Marcel Carné (‘Les Enfants du Paradis’) and Jacques Tati (the Mr Hulot series) and the photographer Henri Cartier-Bresson who all had a great influence on him. Well, there is enough material here for another blog...

Credits

With thanks to David Michie

thank you also to Elizabeth Wemyss of The Scottish Gallery for the use of their images.

Links                                  

The Scottish Gallery, Edinburgh www.scottish-gallery.co.uk

‘The Michie Family’ exhibition catalogue in The Scottish Gallery website:  

http://www.scottish-gallery.co.uk/exhibitions/page/the_michie_family

Anne Redpath http://en.wikipedia.org/wiki/Anne_Redpath

Alastair Michie http://www.independent.co.uk/news/obituaries/alastair-michie-painter-and-sculptor-821150.html
David Michie http://en.wikipedia.org/wiki/David_Michie 
William Wordsworth http://en.wikipedia.org/wiki/William_Wordsworth 

The dance company Tango Pasión http://www.tangopasion.com/

Marcel Carné http://en.wikipedia.org/wiki/Marcel_Carn%C3%A9

Henri Cartier-Bresson http://en.wikipedia.org/wiki/Henri_Cartier-Bresson

Jacques Tati http://en.wikipedia.org/wiki/Jacques_Tati

Patrick Bourne, 'Anne Redpath 1895-1965', Atelier Books Edinburgh