Solastalgia

By lizzie wood

Comic

h: 29 w: 21 d: 1 (cms).

I hope you will consider this piece on the freedom, or the lack thereof, of wild spaces, or the lack thereof. Freedom is an interesting word to use for wild places, as we rarely consider the land as something with agency, with intent, with choice- it just is. It follows a path laid out for it in a greater order of things. But there are two types of freedom. Freedom to and freedom from. As a human, I have the freedom to go into the hills, to climb, to walk, to sleep, to find joy, peace, solace, sadness - and acting according to my freedom, wild places are a backdrop for my choices and my actions. But the freedom from hurt, from persecution, from displacement - these are all freedoms afforded to me according to conventions and laws, and should they be infringed upon, I can speak up and challenge it. Not so for wild places, which by all accounts should also receive the same freedom from which I do. When I avoid a muddy hollow in a path and erode the peat beside it, when I scratch my crampon over exposed rock, when I smear on a 1000-year-old lichen with my rock shoes, removing some; who speaks up? Freedom for wild places is freedom from destruction and degradation. When our freedoms to, negate those freedoms from, there are no freedoms to be found at all.

To enquire about this artwork, please go to the artist page.

Stormshield

By alistair young

Digital photography

h: 25 w: 50 d: 1 (cms).

The village of Kilbride is sheltered from a winter storm by the mountain wall of Blaven and Clach Glas on the Isle of Skye. On a wild winter’s day of gale and heavy rain, weather too wild to be up on the summits, I was wondering what it would be like on the tops, when Blaven briefly cleared and called across the storm clouds, it’s like this! A fleeting moment of wild joy.

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Allt nan Uamh

By brian d hodgson

Etching

h: 34 w: 38 d: 1 (cms).

The etching plate for "Allt nan Uamh" was drawn in a beautiful and remote location in Assynt, where a stream cascades off a mountainside to fall on a nest of egg-like rocks and disappears below ground. In spate the whole area becomes a torrent flowing down the glen and is joined by another spring – it is a complex area of underground rivers and caves. The place feels timeless and the centre of it all, which I think it once was to some people: “Allt nan Uamh” translates as ‘Stream of the Caves’, referring to the nearby ‘Bone Caves’ where animal bones and human burial remains have been found. Drawn on a grounded copper plate entirely on location over many years, returning to be here has become a ritual, and it continues. The plate is ongoing, and only suspended for printing. Self-integration with environments over time, drawing, taking photographs, and the erosive processes I use, together produce artefacts and artworks that consider the meaning of an individual's actions and their finite time and space, within the vastness of existence.

£450

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Ice Watch

By Sarah Casey

Glacial flour on glass watchface

h: 5 w: 5 d: 1 (cms).

Negative space drawings on glass watch faces made with glacial flour ( sediment left by retreating glaciers ). The light passes though the unmarked areas , casting a shadow of absence on the wall / surface around the work. Images were gathered during field work visit to sites where glacial archaeology has been found in the Swiss alps during residency at Musee d’art du Valais (2023). (“Ice Watcher” is the name for the app used by the canton to report discoveries of human artefacts revealed by melting ice.) The shadowy presence recalls not only the absence of the ice retreated from these areas, but also the impossible ideal of sublime imaginary that these mountain vistas evoke. My recent collaboration with glacial archaeologists in Switzerland, in high alpine regions, accessible only on foot and subject to harsh conditions of weathering and erosion has prompted me to rethink the nature of wild places. While these sites are now considered remote, archaeology shows these places were once busy transit routes linking Europe. Moreover, the anthropogenic traces in melting ice -from archaeology to microscopic chemicals– highlight artificiality of the boundary between human and nature. I realised ‘wild’ is a relative term. With freeze and thaw, these environments are in a state of flux. Now evermore so due to climate emergency. The environment is changing, and my recent work has sought to amplify these invisible signs of change and human entanglement in these ‘wild’ places, focusing not on what is lost (the ice) but what emerges. What does a wild mean to me? Wilderness is not ‘out there’ or other than the human, it’s a recognition of fragile ecology of human and more-than-human relationships for which we are implicated and consequently have a responsibility of care as co-habitants. My current work looks for ways to become more attentive to this looking at Scotland as a post-glacial landscape.

£350

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My Wilderness

By ana norrie-toch

Film

h: 1 w: 1 d: 1 (cms).

To enquire about this artwork, please go to the artist page.

Vision of wilderness 2050

By Young Somerset

Online

h: 1 w: 1 d: 1 (cms).

I’m entering a piece of group work which is a mixture of creative writing and photography. I work for a youth work charity called Young Somerset. Over the summer we hosted a summer school collaboration with an Australian creative writer Craig Dent and a group of young people from West Somerset aged 11-14, who spent 10 days creating a 3D vision of wilderness in 2050. They used a 3D camera to photograph various locations in Exmoor National Park and wrote the narrative themselves. The 3D story world can be viewed in the link below- but is best viewed on a VR headset.

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Curlew

By samuel heath

Watercolour

h: 21 w: 30 d: 1 (cms).

Curlews are integral parts of many different ecosystems. They can act as low cost bioindicators as their presence will show both aquatic and invertebrate diversity in their breeding grounds as well as a species richness of plants. They also move nutrients around in their faeces. Their seasonal migration between wetlands and uplands means they have important roles in balancing soil chemistry and nutrient cycles in different habitats across the country. A lack of their presence in prime breeding grounds signifies an unhealthy and unhappy ecosystem that has very little biodiversity. In addition to this, their habitats are being destroyed by intensive farming practices and the planting of timber forests, inturn, rapidly decreasing their population. Between only 1995 and 2020, there has been a 48% reduction in their population and their UK conservation status is now red. This is not just bad news for Britain as their UK breeding population is of international importance. Their decreasing population is yet another lack of freedom for wild places. The land is being manicured, whether it be the use of pesticide or the drainage of the moors and bogs they depend on. The agriculture and timber industry are destroying the habitats further. This is a species that desperately needs our help because we are rapidly killing them and pushing them ever closer to extinction. I don’t want the curlew to be another dodo. I want my children’s children’s children to be able to hear their warbling call and laugh silently whilst watching one catch its prey through a bird hides window. I want them to know what a curlew is - not a dead bird - an incredible bird that lives forever and helps the ecosystem to stay in balance.

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Tides and Sands of Time

By julie close

Illustrated Story/hand-made book - archival pigmented inks on acid-free matt and premium lustre paper.

h: 22 w: 15 d: 1 (cms).

Freedom For Wild Places. A place where nature has free expression. Where we observe, learn, and, with our imaginations, share that freedom. ‘Tides and Sands of Time’ is an illustrated story. My inspiration came from walking along the cliff tops, north of St Cyrus and spending time in Culbin Forest. I found the evidence of the sea reshaping the coastline, man’s involvement and nature taking back fascinating. During these walks, seeds of a story and images grew. This led to many visits and hundreds of photographs concluding with 3 images and a hand-crafted book. For 35 years, I worked as a medical photographer, where the accuracy of recording/illustrating a condition was paramount. The illustrative nature of medical photography has influenced my personal work, which I’m now pursuing, living the dream of capturing ideas. Inspired by my environment and current issues. My projects often require researching habitats, waiting months for seasonal changes and for plants to come into flower. I use multiple photographs to create a digital image, mixing textures, landscapes, and still life. The computer screen is like an empty stage where my work unfolds. It comes to life once printed. I hand print all my work for either hand-crafted books or 3D boxed framed images using archival pigmented inks on acid-free matt and premium lustre paper.

£35

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Liminal

By alison ross

Writing

h: 1 w: 1 d: 1 (cms).

Drawing inspiration from time spent in nature, immersed in its elements, colours and textures, this piece is an intimately personal, and yet intriguingly universal response to landscape. Exploring emotions and impressions, it invites the reader to consider the interconnectedness of humans and the natural world and the emotional benefits it provides to us.

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What will you miss?

By Tina Codling

PDF file

h: 1 w: 1 d: 1 (cms).

I rarely visit cities and urban spaces now but when I do, I notice how everyone seems to be mesmerised by a device of some kind, whether that is music blasting through Airpods or headphones, playing an electronic game, answering emails or scrolling through social media. Even when walking through the park they are chatting to someone locked inside their device, to an image on a screen. And this is now becoming normal in more rural areas and in the mountains. If you speak to someone as your paths cross or at the summit they often can’t hear you because they are plugged in to their device. Others do not want to interact because they are creating ‘content’ for their thousands of followers who may only ever see such beauty through their screens. This makes me think of what they are missing. For this piece I took some of the moments of awe and wonder I’ve witnessed or immersed myself in over the years and across the seasons and considered what it would be like to no longer experience those moments. That led to a call to action for everyone to claim their own freedom to experience wild places and in doing so help build a world where we can give those wild places the freedom to thrive. With us or without us.

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Single track, Coigach by Gwennie Fraser

By Gwennie Fraser

Poem with accompanying photograph

h: 1 w: 1 d: 1 (cms).

Wild places are essential, not only for ecological systems and biodiversity, but also for our human sense of belonging and thriving in a rapidly more challenging world. We are entwined with nature, and the future of wild places. Our appreciation and care is the vital call to action of our time, if we are to protect nature’s freedom to thrive and evolve, and for all life on earth to flourish. My poem, “Single track, Coigach” describes the experience of returning along the long, single track road through the Coigach hills on a winter’s night, and the feeling of freedom and belonging as I recall names of the mountains, lochs and wildflowers that are deeply embedded in my memory, and which come alive again in the present, in each twist of the winding road.

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The Disc

By brittonie fletcher

C Type Print

h: 199 w: 199 d: 1 (cms).

The Disk, was a piece of metal recovered from one of the warships at the bottom of Scapa Flow. I found this piece to be uniquely representational or symbolic of the human relationship with nature and the environment and the cycle of things. Iron taken from the earth and shaped for devices used for destruction later turned into the substrate for which new life could build homes. The salt and the oxidation of metal, both photographic and alchemical unify this idea of the life cycle. The circle represents this same cycle, a galaxy of colour or the planet, something more universal, and hopeful.

£1000

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Signs and Symbols

By brittonie fletcher

Liquid silver emulsion on Somerset

h: 145 w: 195 d: 1 (cms).

I was walking on Hoy in Orkney. People plan their schedules around the wind. I noticed the grass making markings in the sand with the wind. These 'Xs' reminded me of early writings from Neolithic peoples or later inscriptions from Vikings. Some are left solely to interpretation. How the wind changes constantly, but our relationship continues. Our markmakings are inspired by nature; our days are still planned by it. I make developers from scratch from plants foraged in the landscape for my film. I hand apply and paint the silver gelatin emulsion on my paper, allowing the brushmarks to act like the wind in reeds. Connecting human relationship with our environment.

£2500

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2. Fi Bunn - The Matterhorn fire

By Fi Photos BA (Hons), MA

Photography

h: 60 w: 80 d: 1 (cms).

Beyond the ice and the icon. I’m following the glacial tracks which have been such a part of mountain landscapes. They are retreating, almost unnoticed in a single year. The Matterhorn is an "iconic" alp, one of 32 x 4,000m mountains. It is known throughout the world, covered in Winter snows as skiers move side to side across the icy tracks. The rest of the year dark slopes are now visible.

£790

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Sheep Shelter Camera Projection

By Tara Drummie BA (Hons)

Duration print of camera obscura interior, displayed on lightbox

h: 60 w: 90 d: 3 (cms).

Displayed is the projected image inside Drummie’s camera obscura ‘Sheep Shelter Camera’ from the series 'Harvesting Light'. The structure was built on a croft utilising a diesel tank, a steel gate, rotted wood, nettle stems and mud. One corroded hole in the diesel tank was left exposed to function as the aperture, projecting an image of the external croft onto the rusty internal wall. ‘Harvesting Light’ is a series of camera obscuras created by Outer Hebrides based artist Tara Drummie. The work is inspired by the rare machair prevalent on the Isle of North Uist, where geology, climate and topography combined with low-intensity human cultivation over millennia yield a fertile eco-system, attracting a wide variety of wildlife. The work reflects a collaboration between the more-than-human assemblages of the machair and Drummie, motivated by a symbiotic relationship with the land. Each structure (camera) was made exclusively from materials found on site, embracing the environment as the medium to record itself. Drummie dissembled the works and disposed of harmful debris upon completion, raising awareness on consumption and waste and encouraging biodiversity to thrive as it should. A camera obscura is a rudimentary optical instrument consisting of a dark chamber and a small round hole known as an aperture. Light travels in a straight line through the aperture and projects an upside-down image of the outside environment onto a wall within the chamber.

£2400

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Deep Time (diptych)

By kit martin

Digital photography

h: 100 w: 50 d: 3 (cms).

Images of a microscopic piece of sphagnum moss taken through a confocal microscope.

£200

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Into the bog

By Vojta Hýbl

Gouache and watercolour on paper

h: 13 w: 22 d: 1 (cms).

Where can we find wildness? While most people pass quickly through the area between Quinag and Loch Glencoul, I navigated my way through bog in an attempt to map the famous geology of the Moine Thrust Zone. This map shows these two different experiences. Black marks the constant stream of cars and campervans as they drive on the A894, sometimes stopping for a brief look at the Allt Chrànaidh waterfall. They don't stay for long. The golden thread follows where I walked over two days. I strayed off the main path; I was free to walk around and explore. While looking for gneiss and sandstone, I ended up getting to know the sundews and cottongrass. I wandered and took in all aspects of the water-soaked landscape, finding a new wild place with every step I took.

£200

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Heading North from Glen Loth

By marianne dey

Acrylic on board

h: 40 w: 124 d: 5 (cms).

I was so struck by this view, the immense folding blanket of land that comes down to meet the lower flat fields of the river Helmsdale. Then the richness of patterns and marks which combine to show the natural and human history of the place was deeply moving. My interest and connection to the place continues with research into the clearances, the geology and the spiritual significance of the area. The unsettling use of colour in this painting helps to express the wildness of the land.It seeks to reflect the turbulence, and massive forces that have shaped it. The exaggerated lines track its geography as well as seeking out the patterns inflicted by man. Its message yells out; This existed long before man and will continue to when man has gone. This painting reflects the sense of awe that wild places evoke, and its intention is to remind us that we are lucky now, if we can experience the truly wild

£660

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Change of Habitat

By Georgie Fay

Etching

h: 40 w: 40 d: 1 (cms).

This layered etching began as a single dead tree, now entangled in a web created by humans: trappings of a world dominated by technology and power. Birds flee from the oncoming darkness which has started to engulf the image, making it visible only through three circular lenses - the viewfinders of a changing landscape almost beyond repair.

£360

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"Deer"

By anne jackson

Photo etching/á la poupée

h: 12 w: 9 d: 1 (cms).

Anne marks the moment when a deer crossed the path on the way to her parents’ green burial site in southern Scotland. In that moment the racing deer framed in the light at the top of the path represented new life, new hope and a connection with all living things. On a walk to my parents’ green burial site in rural Kirkcudbrightshire, this deer suddenly crossed our path. It was a grief-laden walk, but the deer framed in light at the top of the path seemed to suggest new life, new hope and a connection with all living things. The resulting etching uses the photo taken at the time as a base and is coloured with inks carefully blended and applied by hand during the printing process, making each print unique. I am inspired by natural phenomena, both the majestic and the minute, and the raw, expansive beauty of Scotland with its ever-changing lights, weathers and breathtaking colours never ceases to astound and spark a profound creative response to nature’s creation. I feel these immeasurable spaces, in which heart and soul can expand, are of great value to us all, and hope that the increasing popularity of the NC500, drawing many other visitors to its beauty, will not tame this ancient wilderness.

£75

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Solitary Echo

By Karen Davies SSA

Pigment, oil and wax

h: 26 w: 51 d: 1 (cms).

My connection with wild places is deepened through drawing, working out in the landscape with inks, charcoal and wax. In the studio my creative process further reflects the physicality of being in the place, through encaustic and mixed media, building up the layers and fusing with 'fire', moving the material around, carrying the experience of the wild place in my imagination, carving and scraping back to reveal it's history, just as the ice, water and wind have shaped the land over time. When I work with the materials in this way, I feel part of the place rather than viewing as an onlooker. Wild is the presence of this place A space that shapes you In time Space that fire creates Wind and rain and Ice Its spirit makes Past & future in the silence, a space between, that draws you in the presence of being In this wild place 'Wild places for me create space that connect us to our true selves, the wild self that is often forgotten, hidden in layers of history. The Wild places confront us to remember who we really are, to be at one with nature revealing the real beauty of what it is to be alive. In this space, this silence I find my Stillpoint. My connection with wild places is deepened through drawing, working out in the landscape with inks, charcoal and wax. In the studio my creative process furthers reflects the physicality of being in the place, through encaustic and mixed media, building up the layers and fusing with 'fire', moving the material around, carrying the experience of the wild place in my imagination, carving and scraping back to reveal it's history, just as the ice, water and wind have shaped the land over time. When I work with the materials in this way, I am part of the place rather than viewing as an onlooker. My work is a constant search for a piece that reflects the mood and atmosphere of being in the landscape, the feelings that are evoked, the connection with the place, and then it's memory. Landscape etches itself into the psyche and our experiences with it affect us on different levels; mind, body and spirit.'

£675

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Douny

By tansy lee moir

Charcoal on panel

h: 30 w: 30 d: 1 (cms).

A charcoal drawing capturing the unruly growths of Witch’s broom, found on a downy birch in a Scottish ancient woodland. It’s a striking tree which I use to navigate by when I walk there, an impossible tangle of tiny branches against the winter sky. To me it represents this self-willed tree’s ability to respond to its environment and thrive despite its challenges.

£420

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Have You Ever Tried to Enter The Long Black Branches of Other Lives?

By valerie mclean

Acrylic on Birch Panels (Diptych)

h: 30 w: 60 d: 1 (cms).

“Have you ever tried to enter the long black branches of other lives…….”* Four years in our new house on the outskirts of Edinburgh. Four years getting to know the land. Walking in the woods most days. Noticing the changes. The title of this painting comes from the Mary Oliver poem – Have You Ever Tried to Enter the Long Black Branches.

£1200

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My Dress

By Lera Grant BA

Printmaking / mixed media

h: 73 w: 49 d: 1 (cms).

"My Dress" invites contemplation on the interconnectedness of all living systems, drawing parallels between the sustaining life force of the forest and the essential vitality of the human circulatory system. It prompts viewers to reflect on the profound spiritual connection between humanity and the natural world, emphasizing the interdependence and unity that transcends physical boundaries. Lasercut wood print, lithography.

£210

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Climate Crisis, Harbour Seals

By paul henery SWLA

Oil on board

h: 80 w: 120 d: 2 (cms).

The River Tees once held a healthy population of Seals. The river mouth is actually called Seal Sands. Industrial pollution killed all life in the river including the Seals. River quality has been improved and the area is now a national nature reserve. But, looming over the horizon , the continuous threat to all life on earth is evident. Freedom for wild places means fighting to save those places.

£1000

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February Woodland

By emily ingrey-counter

Soft pastel and ink

h: 34 w: 19 d: 1 (cms).

This picture was drawn, on site, in winter. I wanted to capture the whole experience of being outside. The cold weather, the fading light and the beauty of the pine trees moving in the wind. Freedom for wild places is expressed through the freedom I myself experience when I am outdoors and surrounded by the natural world.

£195

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Long Shadows Cast

By Sarah Casey

Glacier flour on glass watch face & light, projected with ohp

h: 50 w: 36 d: 36 (cms).

A series of 9 glass watch faces ( each 4.5-5cm diameter) painted with glacial flour ( sediment left by retreating glaciers ). Each drawing depicts (post) glacial site in Switzerland visited by the artist in summer 2023 through her residency at Musee d’art du Valais where she also gathered glacial flour left by retreating glacier used here as the pigment to make the images. The work is part of the wider project Emergency! about what emerges as a result of glacial retreat. Placed on an OHP, shadows are cast on the wall. The viewer sees not the drawing but its trace, via the means of this nearly obsolete technology. The yellow glow from the electric bulb of lends the work a sepia glow, recalling early photographic images of high mountain areas before the impact of that industrialisation of that period was to be seen. Gentle critique of the romanticised view of high mountain areas as remote, out of reach and uninhabited. An impossible ideal for these mountains are places of passage, pilgrimage and leisure pursuits and resources used by humans for centuries to support their lives.

To enquire about this artwork, please go to the artist page.

Sphagnum

By kit martin

Bronze

h: 30 w: 30 d: 10 (cms).

Bronze sculpture of a microscopic piece of sphagnum moss from a Scottish peat bog.

To enquire about this artwork, please go to the artist page.

Untethered

By alison ross

Ceramic and metal

h: 23 w: 20 d: 20 (cms).

Drawing inspiration from the elements, colours and textures of the natural world, clay is the language I have used to describe my response to “Freedom for Nature”. Influenced by the Japanese aesthetic of wabi sabi, it is a quiet telling, written in muted colours of nature, pared back and reflective. I favour entirely hand-built forms which are seldom literal and do not seek mechanical perfection, but rather embody the process of emergence from under the makers hands, referencing the timelessness and gradual emergence of forms in the natural world itself. This work invites consideration of the impact of man and natures ability to survive and regenerate despite human impact and restrictions, offering hope that given positive intervention the natural world will emerge and thrive.

£410

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Hidden Links bangle 2

By Janey Boyd

Amadou, recycled precious white metal, eco resin, birch

h: 4 w: 8 d: 8 (cms).

I am fascinated with the natural world and the beauty and complexity it exhibits. It brings me peace, excitement and wonder. I try to live in balance and harmony with it, including in my creative practice. About 6,000 years ago, humans started having a deep impact on nature. Until then we co-existed with nature – we were part of it. For me, ‘Freedom for wild places’ is not about going back in time, but is about reflecting on our place in nature and remembering that we must do our best to look after it. Recently I became curious about fungi. They are the hidden links in the natural world. Fungi and mycelium (a network of fungal threads) are all around us. They live in symbiosis with plants and trees. I’ve taken direct inspiration from fungi and mycelium, and their relationship with trees, when creating the Hidden Links collection, which this bangle is part of. With the Hidden Links collection I have created pieces that satisfy my belief in simplicity and a connection with nature. The collection aims to entice a sense of wonder. This piece is made from eco resin, recycled silver, amadou (produced by myself from fungi that I gathered), and birch wood. Amadou is central to the piece. This magical and sustainable material has been used by humans since the end of the ice age and has now found its way into my work.

£140

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Atlantic-Formed Sea Plate

By brian d hodgson

Grounded copper plate, immersed in Atlantic sea storm, etched in acid, displayed on etched and seawater-patinated copper base plate

h: 45 w: 170 d: 100 (cms).

“Atlantic-Formed Sea Plate” was originally planned as a large-scale printing plate coated with a beeswax ‘ground’ and marked by the action of the sea off the coast of Coigach, North-West Scotland; during its 12-hour sea submersion (while chained to the shore), the above plan was subverted by the intervention of an Atlantic storm. When the plate was recovered the next morning, it had turned into an artefact manifested from nature being powerful enough to overwhelm human intention. I then took the plate that was now twisted permanently into its present form, and etched it in acid. I also made a base plate for this piece, photo-etched using an image of the rocks upon which it was dashed. Through the actual sea submersion of this plate on location, I exposed it to erosion, attrition and corrasion - like the Coigach coastline, itself in an ongoing state of change. Marks were made on the ground by attrition from the rocks, and later ‘bitten’ into the plate by acid etching. The ritual of putting etching plates in rough seas, whilst being an exhilarating act, is also one of risk, carrying a real possibility of loss or even transmutation... The acid etching process seems to compress time. The works are often ongoing: though suspended for periods of time, they are not permanently arrested in their capacity for further transformation. “Atlantic-Formed Sea Plate” and its base plate are subject to change from environmental factors such as oxidisation and moisture.

£5000

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Woodland

By fenneke wolters-sinke SSA

Artists' book

h: 20 w: 20 d: 4 (cms).

Artists' book made with 3D print technology; lasercut birch plywood (3mm) front cover, laser engraved back cover and Giclee prints from laser engraved acrylic sheets (2 and 3 mm) as etching plates. 24 handpulled prints on Xcut Xpress with Caligo safewash ink have been reproduced, combined in 12 signatures and then handbound with a coptic stitch in green linen thread. Trees are not just individual entities within an ecosystem; they form the structural and functional backbone of wild places, shaping the very essence of these landscapes. As the largest and longest-living organisms on the planet, they are vital in shaping and sustaining the ecosystems they inhabit. They provide habitat and sustenance for countless species, mitigating climate change, stabilising soils, and purifying the air and water. One of the most crucial contributions of trees to wild places lies in their ability to support biodiversity. Trees provide shelter, nesting sites and food sources for a diverse array of organisms, ranging from insects and birds to mammals and fungi. In doing so, they foster complex ecological interactions and enable the coexistence of numerous species within their canopies, branches and root systems. Furthermore, trees play a crucial role in regulating the Earth's climate. Through the process of photosynthesis, forests act as crucial carbon sinks, storing vast amounts of carbon that would otherwise contribute to the greenhouse effect and global warming. Wild places provide the essential habitats that sustain tree populations, offering them freedom to thrive and fulfill their ecological roles. In turn, trees contribute to wild places by supporting biodiversity, regulating climate patterns and preserving the integrity of these invaluable landscapes.

£350

Please Note: If you are overseas and interested in a purchase, please note that there will be additional costs for postage and packaging added to this price. Feel free to enquire about this using the button below.

To enquire about this artwork, please go to the artist page.

Ice Cavern

By timothy ingleby

Metal print of experimental structure made of ice and fabric

h: 25 w: 18 d: 1 (cms).

Ice Cavern is one of a series of experimental structures constructed using ice and fabric. The use of ice as a construction material means each structure only physically exists for a matter of just days or hours. The fabric is then salvaged, dried out and used again to explore a different form. The works are intentionally fragile, both structurally and environmentally. They act to remind us that wild places are there for us to enjoy providing we don't upset nature's equilibrium. Individually and collectively the works embrace the ethos of leave only footprints, take only memories.

£175

Please Note: If you are overseas and interested in a purchase, please note that there will be additional costs for postage and packaging added to this price. Feel free to enquire about this using the button below.

To enquire about this artwork, please go to the artist page.

a patchwork of beaches

By Denis Mollison

html

h: 1 w: 1 d: 1 (cms).

The core freedom for wild places is to be themselves. Beaches are among the freest by this criterion – swept clear and reshaped by each tide. The patchwork of photos presented here comes from a project to visit all the beaches of the Northwest Highland Geopark. This selection comes from the beaches in its northern half, from Kylesku round Cape Wrath to Whiten Head, all in the parishes of Eddrachilles and Durness. The photos try to capture the feel of visiting these beaches, their patterns and their dynamics, particularly how they are continually reshaped by water – streams, tides and waves. The patchwork presentation works through a series of themes, from large scale through effects of light and water flows to the fine details of rocks, plants, animals and sand. There are only a few humans in these photos – only on around five of these forty beaches are you likely to meet any. And there is only a little obvious litter – its most insidious presence is the fragments of plastic present in all the sand samples. Like all wild places beaches are under threat, but their very changeability gives them resilience as well as their unique beauty.

To enquire about this artwork, please go to the artist page.

The Act of Bird Song

By sheena graham-george PhD, MFA, BA (Hons)

Film

h: 1 w: 1 d: 1 (cms).

Short experimental art film. Running time 04:40

To enquire about this artwork, please go to the artist page.

EAST II

By andrew brooks

Video and Audio

h: 1 w: 1 d: 1 (cms).

This video and track are both from my solo album EAST which was written and made after moving to Dunbar in September 2020, and are a love letter to my new home in East Lothian (hence the title). The album as a whole is made up of field recordings of the sea, trees and birds of East Lothian, looped saxophone music and spoken word in direct relation to this. EAST II is the title track for the album and encapsulates much of its central essence. Within the notes played using a pentatonic scale is encoded the words ‘This is what I came for this is why I’m here’ a phrase which is the central theme to the album and a mantra I found myself repeating on an early morning beach walk shortly after having moved to Dunbar. The sound of waves featured on the track and the slow motion underwater footage were both filmed at Belhaven bay by me and this piece in particular is attempting to capture my love of the sea and being underwater as a surfer and freediver. Also attached are photos of the physical CD album and artwork which would also be available for purchase at £10 each.

To enquire about this artwork, please go to the artist page.

Hope

By Kathi Kamleitner PhD

Audio & Video

h: 1 w: 1 d: 1 (cms).

'Hope' is an audio-visual poem by writer Kathi Kamleitner inspired by snorkeling on the west coast of Scotland. Marine protected areas, special areas of conservation and national nature reserves in Argyll create pockets of coastline where the wild sea can be free. Free from dredging and unsustainable fishing. Free from the pollutants of fish farms and marinas. Free from interference and exploitation. We are only visitors in these places. From the shore, the sea can seem like a distant world - what goes on underneath the dark, glossy surface has nothing to do with us - or so we think. But when we put on a snorkel mask and immerse ourselves in the depths and the shallows, this alien world comes to life. We are no longer 'other' - we become a part of this eco-system and realise that we've been responsible for its freedom all along. My poem 'Hope' translates this experience into a thought-provoking story about biodiversity, fragility and participation. My aim is to connect listeners with an eco-system that is normally out of sight and out of mind. 'Hope' encourages listeners to learn about underwater landscapes and emphasises the importance of individual responsibility, stewardship and action. The poem was originally published on my podcast Wild For Scotland in December 2022 and has since been downloaded over 3,700 times. In May 2023, the piece was part of a group exhibition at the Rockfield Centre in Oban at which point, I added a video element to tie in with the visual work by other artists included. But the topic of freedom doesn't just show up in my submitted piece of work itself. It also presents itself in my work as a writer and artist. As a writer of predominantly non-fiction and nature writing producing an immersive audio poem has expanded my skillset and horizon as a creative. I draw inspiration from being out in nature. It is freeing to be immersed in the coastal environment of Scotland and be able to produce creative work about these places that resonates with people. I am fascinated by the concept of "extinction of experience" - the fact that in our modern society, we are less and less exposed to nature and lack personal connections with natural environments. In my work, such as 'Hope', I hope to encourage listeners/viewers to create these experiences and find ways to connect with nature in their own way.

To enquire about this artwork, please go to the artist page.

Mull Woodland

By kit macarthur

Photo collage

h: 22 w: 25 d: 1 (cms).

All photo's taken on field trips during 2023

£350

Please Note: If you are overseas and interested in a purchase, please note that there will be additional costs for postage and packaging added to this price. Feel free to enquire about this using the button below.

To enquire about this artwork, please go to the artist page.

Salvage

By therese lynch

Video / Photos

h: 1 w: 1 d: 1 (cms).

Salvage was a site specific installation made in the wilds of the Sahara desert. The link in the media URL, as well as showing the video of the work, tells of the process that lead to its creation, how it was inspired by engaging in the area as I made a small attempt to clear it of plastic debris. The work speaks to the perpetual, sometimes disheartening, dynamic between the industrial human and our natural environment.

To enquire about this artwork, please go to the artist page.

"Puffin in the sun"

By Rebecca Lamb

Drawing

h: 30 w: 30 d: 1 (cms).

Drawing of a happy puffin by a happy 6 year old

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"Every Tree, New Life Occurs..."

By Natural Leaders Project - Coatbridge Youth Work Team

Paper, Pencils, Paint, Collage, Canvas, Natural resources.

h: 90 w: 120 d: 1 (cms).

Natural Leaders (20 Primary 7 Pupils from St. Timothys Primary School in Coatbridge) have been working closely with Coatbridge Youth Work Team in achieving their John Muir Award. They have discovered and cared for their chosen wild space and have enjoyed learning all about nature and their environment. This is their artwork. This is their vision.

To enquire about this artwork, please go to the artist page.