We are at the end of our first residency of the year. The Nightshift residency takes place during the winter months at SSW when activity slows down. The 2015/16 Nightshift Residency was built around the theme of storytelling and the use of narrative within an arts practice. We encouraged the artists to interpret the theme of storytelling in a way that is relevant and beneficial to their own practice. The residency period was self-led by each artist but we all enjoyed a series of events and activities to consider, discuss, and make works exploring the correlations between storytelling and art.

Our artist group was as diverse as ever and we were excited to welcome these seven artists to take part in the Night Shift residency programme.

maggie clyde
“During my residency at the SSW I have been working on paper, making images and text that tell a wee story or tell a set of wee stories that I wanted to share. In exploring a more text-heavy content, I worked on making etched prints without any press or other technical equipment. I used aluminium, inked by surface rolling and printed by my hand pressure alone. I found this simplified approach to be a very satisfying process.

All my work is underpinned by drawing and so I did a lot of that too. Charcoal, pencil, ink, graphite. And monoprints. All with narrative outcome. Interacting with the other residents and watching their work develop, played an important part of the residency for me. I loved the landscape here. Lumsden is a beautiful location to work in. I will be sad to leave. My aim was to produce a new body of work while I was here. Truly I have.”


Lavinia Raccanello
“For my project at SSW I developed a work based on Stuart Christie’s autobiography: Granny made me an anarchist: Franco, the Angry Brigade and me.
Stuart Christie is a Scottish anarchist writer and publisher, mostly known for been arrested in Spain at age 18 while carrying explosives to assassinate Spanish dictator General Franco and his inner circle during the final of the Generalissimo’s Cup in 1964.
I worked on 22 iron letters that assemble a relevant sentence from Christie’s book. As some injustice can obviously be stronger than us, the iron itself can be a challenging material to work with, but this doesn’t mean that it’s not worth trying. Even if I had never done anything similar before, it didn’t mean it couldn’t be done.
Feedback, suggestions and reflections on this project from other residents and from stuff members have been really helpful and I want to give a special shout-out to the technicians that have been amazing!”

Lavinia Raccanello’s project has been realised with the support of Movin’Up II session 2015, promoted by Ministry of Cultural Heritage and Activities and Tourism (General Directorate for Contemporary Art and Architecture and Urban Suburbs and General Directorate for Performing Arts) and GAI – Association for the circuit of the Young Italian Artists.

DSCF6144 corretto 300dpi 500x333

Murray Anderson
coda: Heinrich Wölfflin’s Gothic toes – Rhynie man – Wilfried Pas – nodding Fred – groggy clay – empire biscuits – White Wood – Lyotard’s grand narrative – The Other – pink, pointy shoes – snowfall – I Married a Monster from Outer Space – Ralph Eugene Meatyard – green wax – pewter – pink Craigievar – Teddy has an operation – runners and risers -The Outsider- yellow slurry – purple leg – silver city – pink molten aluminum – Monumental 1990 – Flaubert’s Parrot – Elie ruby – three birds [green, psychedelic, and grey] – tartan van – driftwood dog – vermiculation – resin sand – A Bigger Splash – molten iron – Rhynie chert – dead slag – vagabonds – Tre civette sul como – collaboration, truly – blue bust – pointy teeth – berserkers – definite parrot – potluck.

“Those things about which we cannot theorize, we must narrate.” — Umberto Eco


Norma Hunter
“I have a friend who collects banner headlines from newspapers. I photographed a selection of these stories as I have long been interested in everything to do with the press, from the quality of the paper, to the way the text,  the words, stories and  people are manipulated to create the final newspaper. I wanted to create a space where people could look at what made the news in the past and reflect on how we have a choice to either believe everything we read or consider where the truth lies in what is reported to us.”

Fiona McKinnon
“Prior to the residency I had asked people from various disciplines to write an article upon the narrative of storytelling within artistic practice or a short story. Looking over these texts in the first week I attempted to pull out an overlying theme from them – which turned out to be a lot more difficult than I had initially thought! This didn’t bother me too much as I felt the process of arriving to that point was an important part of the narrative of the residency itself. Movement. Fluctuation. Ephemerality. Past, Present and Future. Anguish. Memory. Pain. That is where this narrative took me. But how to embody this? I wanted to create something which encapsulates the movement and fluctuation of time, and which would be a looming memory of pain long forgotten.
Visiting the standing stones near Rhynie (a village a few miles from SSW), I formulated the idea for the work. I started welding; a process which takes upon a narrative of its own. Each weld is unique, each weld holds a memory of when it was made.
I ordered 73 metres of 6mm and 8mm steel rod and drew plans to create three metal structures which would stand at 2m 40cm (the practicality of transporting these is something which I am leaving for another day). I wanted to change the quality of the hard metal and create something fluid, something which conveys movement. Although it wasn’t finished during the residency, I also wanted to make an audio work, which would resonate inside the steel sculptures and convey the ideas from the texts. The audio would need to consist of two works; one stereo and one mono. The next question is what to do with them? Although my initial idea was to place them in an outdoor environment – seeing them set in front of a white wall in the SSW yard changed this opinion. With the correct light, the shadows from the three organic structures created a presence which adds depth and body to their forms.”

DSCF6199 Gabriella da Silva Bandeira Pinheiro
Artist Gabriela Bandeira resides in a community of artisanal fishermen in Brazil, Rio de Janeiro. During her time on the Night Shift Residencey, she has been asking people to describe the sea, especially relating to their last memories and first contacts with the ocean. Gabriela has been working closely with the Lumsden community and all the gathered stories and accounts, were of paramount importance for her project. Gabriella has been focussing her encounters with other artists in residence and with the North Sea and Macduff fishermen, thus depicting a contrast of experiences. This information is the base of a video art work entitled “fluid Memories”, which will be displayed in the exhibition “hidden Waters and lives” in the MAC-Niterói Contemporary Art Museum, Rio de Janeiro. Gabriela has also been learning  pottery techniques during her residency. She has been considering the links between the films she has been making and the ancient art form of pottery. Gabriela has tried to make a counterpoint metaphor between the movement in the leaves of the trees in Lumsden and the movement of the waves and sea currents, thus creating pieces that will be used to create the installation “Motion Chains”. Gabriela says “I have found my residency experience at SSW enriching and productive, thank you to all who took part in this early processes.”


Julia Cowie
“I did lots – made wee vessels, designed jewellery, planned a workshop, experimented with local materials and traditional methods and FINALLY got to be part of an iron pour. It was a good place to ‘hibernate in action’ – making and thinking with Eden, Uist, Beth and the other residents”. You can take a closer look at Julia’s workshop, ‘Plant-lore and Jewellery Making’ here.


Thanks to all our Artists in Residence for their hard work and enthusiasm during their time here.

IMG_2149We are still accepting applications to our ‘Group Emerging Artist Residency’, specifically for BA graduate students who graduated in 2015. Deadline for applications is 5pm, 28th of March 2016, for more information click here

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