And How We Focus With Lunar Moments – Gavin Macgregor
Pastel, graphite, found page of book from Carnac, on packaging card.
325 x 400mm
heritagelandscapecreativity | Exploring Time Travel of Place
Email: g.macgregor@archaeologyscotland.org.uk
And How We Move With Solar Rhythms – Gavin Macgregor
Pastel and graphite, on packaging card.
325 x 400mm
heritagelandscapecreativity | Exploring Time Travel of Place
Email: g.macgregor@archaeologyscotland.org.uk
These pieces are a response to exploring megalithic monuments in the Gulf of Morbihan, Brittany, in 2025. The enduring presence in the landscape of such prehistoric monuments can also be seen on Isle of Arran and reveals how wider communities were connected along the Atlantic seaboard 6,000 years ago. These landscapes faced significant changes millennia ago due to sea level rises, I am interested if and how an understanding of these deep time stories can play a role for people today in response to the climate and biodiversity crises.
Landfall – Tim Saville
Acrylic and wood on board
850 x 340 mm
Email: huntersavillecumbraegallery@gmail.com
‘Mission-encounters-discovery-acceptance-adaptation’
The need for voyages of the mind for enlightenment, knowledge and even survival.
Every brush mark is a nervous step towards the edge of the unknown.
Traces – Tim Saville
Acrylic and wood on board
850 x 340 mm
Email: huntersavillecumbraegallery@gmail.com
Licht – Jane Greenstreet
Charcoal
640 x 600 mm
Pale glimmers of filtered light
Catching edges
Caressing sandscapes
Nestling in folds
Its lambent glow
Sending hope into the falling night.
Hollow Hill – Ed O’Donnelly
Watercolour
700 x 700 mm
From an idea that Island communities once felt they inhabited a landscape with a prehistory animated by mythologies and folklore linked to ‘ancient’ monuments.
What We Know To Be True – Julia Bovee
Straw, Linen and Wire
850 x 740 mm
Email: juliabovee@gmail.com
This piece is a study on historical migration. When people set out to leave their homes and travel across unknown lands and seas what knowledge and stories did they take with them. Much of that knowledge would have been nature based. The sun, moon and stars, winds, tides and seasons were all part of their daily lives and would have dictated the way they existed in the world, “What we know to be true”.
The Gobhlach – Rob Stevens
Acrylic
1060 x 540 mm
Email: treborsnevets@hotmail.co.uk
This painting was inspired by the singing burnside of Allt Gobhlach in Pirnmill…or maybe, turned on its head, an ‘Arcimboldo’.
Iolach nan dream a dh’falbh leatha, Druim a dhùinn 2026
A Whisper From The People Swept From the Land Drumadoon 2026 – Eoghann MacColl
Water based paint and oil bar on recycled plywood wood.
480 x 490 mm
Instagram: @eoghannmaccoll
The title is take from a line in the poem, cladhaidh, by Alistair Paul.
‘S e obair gun do rinn mi ‘sa stiùideio agam. Ach tha cudromach oir thòisich mi leis dealbhan agam fhèin, dealbhan le peansail gun do tharraing mi aig an àite. Chòisich mi suas a chursas.
(This work is fully referencing the cursus at Drumadoon. I walked sections drawing while moving, following the monument. The horizon references Kintyre across the Sound.)
‘S ann às an t-àite a tha e air fad, sealladh thall linntean agus ginealachan ri teachd.
Facets – Ed O’Donnelly
Watercolour
955 x 955 mm
From a series of paintings titled ‘lithic’ exploring compositional ideas and painting processes responding to the geological form and functional use of flint, pitchstone and obsidian in prehistory.
Natural Geometrics – Rob Stevens
Acrylic
950 x 950 mm
Email: treborsnevets@hotmail.co.uk
Bleached Bones and Nature’s Geometry,
Clinker built and Grid Iron,
A Collection Cast in Poise and Balance
Ancient Landscape – Ann Hume
Acrylics and mixed media
330 x 330 mm
www.annhumejewlery.co.uk
This painting is a spontaneous abstract response to the landscape at Drumadoon Cursus. I wanted to create a sense of movement with playful marks whilst representing the partial decomposition of vegetation beneath the surface of the bog and the suggestion of the stoney surface of the cursus in the foreground.
Interior With Two Cups Looking Towards West – Josephine Broekhuizen
Oil
390 x 330 mm
www.josephinebroekhuizen.com
This painting is to do with interiors and exteriors and the feelings that these things give you. The tilted perspective of the table top brings you into the room. The wooden surface and the cloth ground you in the interior. While colours from the interior pick up on the lyrical distant landscape and draw your eye outside again.
From Light, Earth and Air – Ruth Mae
Vessel turned in holly, placed on a section of bog oak. Timbers sourced on Arran.
Holly vessel is textured and “ebonised” to a slate/grey. Gilded with 23.75ct gold leaf (please don’t touch)
70mm hight x 8mm diameter.
Email: ruthmae.nagare@gmail.com
Strata – Morgan Russell
Herculite Plaster
220 x 120mm
Email: nagromcom@yahoo.co.uk
Strata investigates how a single line when altered, repeated and layered can develop into an intricate 3D dimensional form. The sculpture exhibited here is a cast copy of the original work which is composed of over a thousand individually cut leafs of paper. Through its process of creation Strata quietly nods to the slow repetitive development of an old tree’s rings or the gradual erosion of stratified geological features, both natural processes that expand far beyond the human life span.
Aefintyr – Rob Stevens
Raku Ceramic.
500w x 320h mm
Email: treborsnevets@hotmail.co.uk
The hull is press moulded from a Willow Basket mould and the Ceramic Birds…relate in spiritual terms to the understanding that seagulls were known for their ability to navigate between the sea and the sky, which has led many to view them as messengers between different realms.
‘Aefintyr’ is an old Norse word that means “to venture” implying a strong element of risk and the excitement of facing the unknown and unpredictable.
Seaweed – Kirsteen Holuj
250 x 250mm approx
www.kirsteenholuj.co.uk
Sagger fired ceramics coloured using oxides, minerals and Arran found botanicals (pine needles, seaweed and peat). Copper lid with twig and dried seaweed.
Earth Disc – Rob Stevens
Monoprint
740 x 740 mm
To see a World in a Grain of Sand
And Heaven in a Wild Flower,
Hold Infinity in the palm of your hand
And Eternity in an hour.
William Blake
Square Cross II 2018 – Tim Pomeroy
Reeds, Wood, Plaster, Gold Leaf on Paper
820 x 820 mm
www.timpomeroy.com
Cois na Mara – Eoghann MacColl
Pencil Drawing
420 x 420 mm
Instagram: @eoghannmaccoll
Rinn mi dealbh air traigh an Dubh-abhainn ann an t-Iuchair 2024. ‘S e turas tron arainneachd Àrainn a th’ ann, an cois na mara, mar a chìad cheum, gu chuirsus agus sealladhean nam beanntan.
This is a detail of a drawing made in July 2024, started on the beach at Drumadoon, Blackwaterfoot. It mirrors first foot fall, visits the cursus and views of the mountains beyond.
Flora of the Bog – Ann Hume
Acrylic and Mixed Media on canvas
340 x 340 mm
www.annhumejewlery.co.uk
This painting represents the unique flora of Peat bogs, in this particular depiction, sphagnum moss and bog cotton.
Over time, the plants form peat and act as a front line in the fight against climate change, trapping carbon in the bog.
The lack of oxygen and the acidic environment, allows the ability of peatlands to preserve things for thousands of years, making the bog into an archaeological archive.
Drumadoon – Isobel Milne
Mixed Media, Paint, Crayon, Charcoal, Print
400 x 400 mm
This piece of work evolved from visits to Drumadoon and the cursus monument. I have printed from my own work, and absorbed images of Neolithic chippings from Arran.