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Edinburgh’s ‘Endarkenment’

Inscription above the entrance of Edinburgh’s Central Library on George IV Bridge

Read that inscription in the image above, then have a ponder on this …

In 1890, world famous industrialist and philanthropist Andrew Carnegie gifted the Central Library to Edinburgh. Inspired by the Scottish Enlightenment, he was a dedicated, generous supporter of education for all, and was no doubt equally inspired by his own humble beginnings in Dunfermline.

An important part of this gift was the plot of land adjacent to the library which allowed light to flow in through the large windows (a design feature to remedy the fact that the other side of the library didn’t receive enough light because of nearby buildings).

Recently, Edinburgh Council decided to sell off this adjacent plot of land for 3.5 million, then allowed a hotel development company to go ahead with their, I quote, ‘visionary’ proposal to build a nine storey hotel on the site, which will (you guessed it!) block about eighty percent of the light.

Before I go into any more detail, for those of you who don’t have time to read on, please click on the Crowdfunder link below, to donate what you can or share the link to help pay for the £27, 000 upcoming court case to contest this decision…

As Rory Bremner put it in March this year:

this seems an extraordinary betrayal of Carnegie’s intentions and a slap in the face for Edinburgh’s great cultural heritage.”

Last night I went along to a talk and fund raiser awareness event, led by various groups under the umbrella of the campaign ‘Let there be light’. Link  –


There were inspired talks by the architects, community groups and individuals involved, also a film by someone who prefers to be known just by his first name, ‘Simon’, who installed himself permanently in a tree for eight days to prevent bulldozers moving in. (Some stills from the talk, below)

From the ‘Let there be light’ campaign wesbite: “In these troubled times, the City of Edinburgh Council has become so heavily in debt, to the tune of BILLIONS, it is undertaking the disposal of the City’s family silver and gold, while sanctioning speculative mediocrity, described as ‘architectural wallpaper’, so otherwise demeaning as to now threaten the City’s highest accolade, the twin World Heritage status”. 

Edinburgh, birthplace of the Scottish Enlightenment, recognised by UNESCO as the world’s City of Literature. Also, home to one of the most inept councils in the UK …

Despite being regularly voted one of the most beautiful cities in Europe, celebrated for its architecture, with the world’s largest arts festival, all of which draws around four million visitors each year, many of Edinburgh’s A listed buildings are regularly threatened with shoddy commercial developments, not to mention the selling of public/community-owned sites for private profit.

Proposed plan for hotel, showing how much of the library (behind) will be obscured

It seems inexplicable when these buildings are among Edinburgh’s most valuable assets, but then when you consider that the council is in debt thanks to (among other things) the clusterf**k (that’s the accepted general term of reference) of the trams development, which also helped close down many fledgling businesses across the city thanks to limited access while pointless road diggings went ahead, only to be halted and patched up, messily, a year later, it explains their motivation, if not their limited ability to think up coherent, rational answers to debt.

As a friend recently pointed out, the council takes 5 million each year for parking fines alone, why sell off a piece of land with significant cultural heritage for 3.5 million? There were numerous proposals for green areas with one-storey glass buildings/resource centres, additional cafes and so on. Yet these were ignored.

Short-term profit and mindless greed aside, what really hurts is the ignorance and lack of vision. There’s something soul-destroying and heart-breaking in these developments when considered in the light of Carnegie’s vision –



Here’s the link again below, please share or donate (they take bank details or paypal, if the target amount of £27, 000 isn’t raised within 51 days, no money will leave your account)

Limited edition print sale – Cockenzie

‘Cockenzie Power Station, 26th September 2015′. Mixed media on 17×11″ wood panel (Original £400, sold. Ltd Ed’ print £65)

There are 18 prints still available (from a limited edition of 25) of the above painting Cockenzie Power Station, September 26th 2015 with 10% off.

This painting was created to mark the demolition of Cockenzie Power Station. Its chimneys were a familiar landmark on the south east coast of Scotland and hundreds of people lined up along the coast to watch it come down.

I took a video of the demolition (which you can view at the end of this post) and some sketches, then made the painting on a piece of 17×11 inch wood. The painting went on to sell at the preview of the Royal Scottish Academy Open, and was featured in the Times review of the show (by author and art critic Giles Sutherland).

I had the painting professionally scanned by Giclee UK and made into a limited edition of 25 signed, dated prints. I then offered the series exclusively to the (now closed)  Peter Potter Gallery in Haddington (near Cockenzie), and three sold there, but despite the gallery’s best efforts it was forced to close last year. A real shame as it showed excellent work from local and international artists.

Anyway, this means I still have 18 prints left (two are kept aside for my own archives and I sold a couple more direct to buyers). They’re 17×11″ with a white surround on archive quality fine art paper using acid resistant (non-fade) ink. I’ve taken off about 10% of the original cost (they sold for £72 each at the Peter Potter Gallery)

If you’d like to buy one you can contact me on, or from the ‘Contact’ page from the menu above.


Changing landscapes

Sold. ‘Viridian (Sussex Weald)’. Acrylic on 20×16″ canvas. 2014

Paintings from my Gloucestershire landscape series will be on exhibition at the Limetree Gallery in Bristol in the next month or so, they’re being framed there at the moment so I’ll update on that soon. (The series can be viewed from ‘Gallery’ in the menu above).

In the meantime, the next month will be taken up by house-related things and I’ll have no time to paint until mid-May when I’ll be staying for a while on Harris in the Outer Hebrides. So in the meantime I’m keeping my imagination fired up with some inspirational landscape-related books …

At the moment I’m reading To the River by the wonderful author Olivia Laing, in which she explores the landscape and literature of Sussex near Lewes, including the many authors who lived or worked there, in particular Virginia Woolf.

House where my grandfather’s family lived in Stanmer

Though most of my work is inspired by Scottish landscape,  I also have an affinity with parts of the English landscape too, particularly the South Downs where my grandfather was born in a village called Stanmer near Lewes.

After art college, I lived in Brighton for a while in the 90s and walked across the entire length of the Downs bit-by-bit each weekend. I remember when I first arrived in Sussex I barely noticed the hills until I explored them, they looked small to my mountain-attuned eyes! But with familiarity I began to love the landscape – its plants, contours and the tangible sense of history in the formed and re-formed landscape, described so atmospherically in Laing’s To the River.

Her more recent novel The Lonely City was voted ‘Book of the year’ by the Observer, Guardian, Telegraph, New Statesman and Times Literary Supplement. I read it a couple of months ago and found myself mesmerised by her prose. I wouldn’t describe it simply as poetic or descriptive, it’s imaginative, philosophical, intimate, at times revelatory, also brilliantly researched.

To the River is equally evocative, transporting me back to the dreamlike landscape I experienced in this part of England in June. (I’ve included here some of my photos from the time, and excerpts from Laing’s book). The landscape feels utterly different from anywhere in Scotland; deep chalk beds, created by the remains of creatures from an ancient sea, form rolling turf-covered hills that were once covered in ancient forest.

This ancient seabed originally formed a dome from the south coast to the Thames, which was worn away by rain and rivers to form the Weald (from the ancient German word ‘Wold’ meaning forest most likely) between the south and north downs – the remains of the original chalk dome.

Walking for miles over the downs in summer feels almost like a desert at mid-day. It’s the blinding sun, bouncing off white chalk and short turfy grass that makes clambering down the scarp slope (the chalky steep hillsides that form the edge of the downs) into the weald such a contrast. There’s a feeling of being immersed in damp, dense green foliage, also the scent of mud and river-beds. It feels somehow secretive or mysterious after the exposure of  sun-baked hills.

Water seeps through the downs – about 500 meters of chalk – to emerge at the foot of the scarp slope at the edge of the weald where it forms streams then rivers. When you discover the source of one of these streams through a tangle of bushes the water is freezing, also pure (though that’s because it’s taken maybe decades to filter through and it’s water from the past, new farming methods might change the water purity in years to come).








I have distinct memories too of discovering the many small ancient churches often built close to Yew trees (probably to negate the earlier pagan use of these sites!) the scent of damp stone, incense, ancient wood and the coolness of thick-walled interiors after the  heat outside.

Sometimes you might see the remains of a wall painting dating back to Norman times; a reminder of past times when England was in upheaval, and faced a change of rule, as it does again today.

Which brings me to politics! This is a personal art blog, but just as art is central to my life so is politics – not least the expression of individual cultures, or protection of landscape and environment. Here in Scotland it’s increasingly likely we’ll take a different path towards independence which I welcome wholeheartedly, but I feel for those in England, Wales and Northern Ireland who face change they didn’t vote for. Also for many leave voters the Brexit process appears to have been hijacked towards an austere agenda that threatens to undermine devolution across the UK as a whole.

Each part of the British Isles is wonderfully unique with its own shared experience, culture and expression. I hope people across the UK are ready to defend their right to autonomy, because there’s no doubt in my mind that the UK’s constitution and values are going to be altered to suit the current Tory agenda. This country must seem to some outsiders to be increasingly intolerant, undemocratic, unwelcoming, uncaring towards its own people, and especially towards people who are vulnerable through illness or misfortune. Still, we’re not in Trump-land, as yet! And nothing can alter the fact this is a country of beautiful, inspiring landscape, art, music, literature and imagination, incredibly varied for a small country.

The landscape of Sussex is linked in my imagination to Vaughan Williams (though he was born in Gloucestershire) probably because the first time I heard a live performance of The Sea Symphony was in Arundel cathedral. To me nothing evokes the green, mysterious atmosphere of the weald so expressively as William’s Fantasia on a Theme by Thomas Tallis (except perhaps Laing’s To the River) so I’ll end this meandering post on that note …


Art sales

Sold. ‘East – Harbour’. Mixed media on 40×40″ redwood panel.

Sold. ‘West – Singing Sands’. Mixed media on 40×40″ redwood panel.

It’s been a good week for art sales! I’m delighted that two of my largest works – East – Harbour and West -Singing Sands (above) have sold on Also two paintings from the Harbours series, and a new commission of Elie Bay (viewable in yesterday’s post).

Artwork prices are the same whether through me, a gallery or an online arts site. If I sell directly I don’t pay gallery commission, but selling through galleries has the advantage of publicity and raising the profile of my work. It evens out in the end!

Sometimes galleries and arts websites will negotiate – for example the buyer of East and West was given a 20% discount since he bought two, so it’s always worth asking. In the end he paid around $3500 including shipping.

I’ve decided to indicate prices here on my blog (in ‘Gallery’ menu above). I think that galleries these days understand that artists sell in a variety of ways, due to internet sales, so in a sense it’s reassurance for them too that my prices are consistent.

So viewers here will now see which works have sold or are available in my gallery, but limited edition prints of my original paintings are also usually available (I always have paintings professionally scanned for high quality signed prints in editions of 25). I’ll also indicate if some paintings are earmarked for an exhibition, so visitors know they’ll be available at upcoming exhibitions.

Thoughts on people and culture …

‘Damascus Rose 3’. Mixed media on 36×36″ wood panel

My recent article about creative exploration of the way we view a people and its culture was published on Bella Caledonia today, link –

It’s great to add my voice to the creatives who contribute to Bella Caledonia –  an online publication that was launched in 2007 by Mike Small and Kevin Williamson (now also a supplement as part of The National).

It became hugely popular in the run up to 2014’s Scottish independence referendum, offering an alternative to mainstream media, and an interesting mix of in-depth opinion and culture alongside politics.

They increasingly encourage contributions from a variety of thinkers and creatives –  and my article coincides with a general interest in exploring ideas of identity and nation; a subject that has recently dominated headlines, most recently with Melanie Philips’ controversial (and inexplicable!) Times article which offered up some suspect ideas on what constitutes a nation. (I’d link to it but there’s a Times paywall – you can explore Bella’s response here

I’ve always been resistant to art that coincides with a certain political stance or party, and still am – my recent series was a visceral and emotional response to the situation in Syria, also my attempt at a creative take on the way propaganda influences our view of a nation, or a people and their culture. Ultimately though, the inspiration is landscape for me creatively, and I can’t wait for the upcoming trip to the Isle of Harris in May – peace and inspiration beckon!