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The Wedding Present

13 November, 2017

Carole and Stan’s wedding

I have been a friend of Carole Racionzer for some time now and several years ago she also bought my 2012 portrait of my cousin Anna Rendall playing the cello.

The first painting of mine that Carole bought; a portrait of my cousin playing the cello.

 

 

 

 

 

 

 

 

 

 

 

I was delighted to learn that she was getting married to Stan in 2017, and when she asked if I could paint a picture as her main wedding present I was happy to help. The idea was that instead of her guests buying wine glasses or kitchen paraphernalia as presents, as a unique and personal alternative they could all chip in for a custom painting. I have long thought that many wedding photographs end up being quite formal, posed and lacking in soul. A party painting like the ones I am known for could provide a lasting memento of the day and it would also reflect the life and joy of their wedding celebration. 

Stan and Carole on their wedding day. This scene formed the initial focus of the painting.
Chris and Carole at the beginning of the reception, as the painting starts to take shape. Chris’s Hogmanay mural helped create a party ambience in the background, and also helped guests understand what the painting would eventually become.


I decided to paint portraits of all the wedding guests as well as the main wedding party. Carole and Stan hosted their ceremony at Archerfield House in East Lothian, with a handfasting ceremony led by a Humanist minister and their guests arranged around them. It was decided that I would make a picture of that scene and build it on a circular canvas that reflected the shape of the ceremony. I gathered reference photos of the happy couple during the ceremony and then took pictures of as many wedding guests as I could get to pose at the time. I then went down to the reception venue and started the painting in full view of the guests. Throughout the day this painting process provided unique on-site entertainment for the wedding guests; I painted the main wedding party first, starting with the bride and groom before painting Carole’s daughters, the best man, the matron of honour, and the parents of the happy couple. People of all ages are fascinated by the process and the openness of how I do it, and wedding guests were constantly hovering around the easel, watching my progress. 

Chris took dozens of photographs of the wedding guests, to be painted into the artwork either during the reception or after the event.
The painting underway during the reception. Guests were encouraged to stop by to get their photo taken and to watch the progress.

 

 

To add to the ambience of my workspace, I brought four large boards of crowd scenes from my 2013 Hogmanay painting. This gave the guests an idea of the direction in which the wedding painting was going.

Chris adding portraits to the painting in his studio in Leith, using photo reference collected during the wedding reception.

After the event the picture was taken back to the studio in Leith and the longer process of painting all the guests in began.

Once finished it was popped in a custom-made frame to be presented to Carole and Stan and hung in their Perth home. Job done! 

Categories: Art, Murals

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Building Bridges in South Queensferry

10 October, 2017

Echline Primary School – Queensferry Crossing Mural

South Queensferry, a town ten miles west of Edinburgh and already world famous for its Forth Road and Forth Rail Bridges, entered a new phase in its history in 2017 when a third bridge was built on the Firth of Forth. 

Prepping the palettes for the children to start painting.
Chris sketching out the mural’s outline using reference photos and a paper design.
Chris introducing the project to a new class of children, using the design drawing as reference.

Local school Echline Primary already had an interior bridge mural which had been on site for more than twenty years. It was very well executed, much loved and had stood the test of time, but it was now a bridge short and it was deemed time for a new version. The old mural was careful taken down and hopefully it will be preserved in some form for the school’s archives.

Chris entertaining some of the school children with his witty banter.

The school wanted a crowd mural as they were really inspired by some of my past work, but with the added feature of having the kids helping to build it. 

The mural starts to take shape; laid out on the floor for a better overview.
The Burry Man, the central figure in South Queensferry’s annual Burryman’s Parade, also features in the mural.

South Queensferry has a famous annual town ‘Ferry Fair’ so I decided to base the mural on that for crowd vibrancy, and have the three bridges in the background. I produced a drawing that would steer the whole project, which was approved by the school ahead of the project launch. 

The Victorian Forth Rail Bridge looms over South Queensferry.
The kids painted themselves into the mural, creating a permanent moment in time for the school and the Queensferry Crossing event.

On the Friday before the mural started, I presented at a school assembly where I introduced myself and my work, and showed the children some of my videos. 

The foreground of the painting focuses on the annual Ferry Fair and features some famous local buildings.
The finished mural installed in the school.
A panoramic view of the finished mural.

During the week of the project I worked with all the children from primary one through primary seven. The idea was that some of the children would paint themselves into the painting while others worked on the buildings and background. The mural evolved throughout the week and I painted alongside the children to help continually steer the picture towards its vision. It was all done and dusted in a week. I heard reports from the teachers that the kids were delighted to work with “Mr Hat”. Many of them learnt top hat spinning as a byproduct of my residency. 

Coverage of the project in the Edinburgh Evening News.

The mural was also featured in an article in the Edinburgh Evening News as part of the school’s celebration of the new bridge. 

Categories: Murals

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Sprucing Up The Three Sisters Student Union 

29 September, 2017

Painting in another historic Edinburgh venue


Last year I spent time painting various spots in The Three Sisters, a famous pub on Edinburgh’s Cowgate. The venue was named after the three Mackinnon sisters Cath, Kitty, and Maggie, famous in the 1740s for gracing Edinburgh stages with their singing, dancing and beauty. It is a large complex of bars, and inside this network of rooms is housed Edinburgh’s Student Union Bar. 

The Three Sisters asked me back this year to further improve the Student Union. This time I took on a tired and bedraggled looking corridor which before I arrived, wouldn’t have looked out of place in a 1970s office block. They wanted some new artwork that was very Edinburgh-themed, would energise the space, and had some relevance to the diverse university students who frequent the space. 

 

The main wall in the corridor now has an impressionist vista of Edinburgh with the castle illuminated by the world famous bi-annual fireworks display. 

I took the artwork onto the ceiling as well as the walls in order to give the area an immersive feel. As the scene moved further away from the firework end of the corridor, the idea was to give it a ‘starry night’ / Van Gogh inspired look. The Three  Sisters also had me paint the walls at the far end with notable university buildings from around the city. 

On a completely different theme, The Three Sisters asked me to reflect the Cowgate location of the bar in another mural. The venue is surrounded by a maze of vaulted arches that hold the buildings of the area up, and so I painted a map to the vaults under George IV Bridge with a pop art/brightly coloured feel. 

The whole job was done to deadline in under a week, just after the Edinburgh Festival finished but before the onslaught of students for Freshers Week.

Fingers crossed it will keep the students happy and ultimately lead to increased footfall through the door – always the mark of a successful project for me! 

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Edinburgh Rugby Kyloe Cow On the Moove

28 September, 2017

Continuing collaboration with Kyloe restaurant; painting their life-sized fibreglass cows. 

Chris securing the new Edinburgh Rugby Club cow outside Kyloe restaurant in the West End with Edinburgh Castle in the distance.

Over the years I’ve painted a succession of cows with various themes for Kyloe. We switch over the cows on a regular basis so that they are seasonally relevant and stay fresh for passersby. 

The restaurant has watched the foot traffic outside via their CCTV and estimate that the cow has its photo taken once every two minutes. It functions as a huge social media envoy and doorman for the restaurant, acting as a hook to let people know that the restaurant is there. This is important as the restaurant is a first floor establishment and is only accessible through the Huxley, its sister pub at ground level. 

One of the initial designs for the Edinburgh Rugby Club cow, which was eventually modified in the final execution.

The cows are branded with the restaurant’s logo to help increase the restaurant’s profile on social media and on the street. Kyloe is an award-winning steak restaurant so the cow is bang on theme for the beef aficionado. I take my responsibility in painting this very seriously. The cow’s location is the first thing you see when you step onto Princes Street from the West End, and I think the quality of the paint job that I do should reflect the calibre of Kyloe, the top steak restaurant in Edinburgh.

Working on the cow in the studio.

Kyloe restaurant and The Huxley bar are on the route to Murrayfield Stadium and both have a strong history as a rugby supporting venues; the last cow that I painted was a personal favourite and was ‘Tartan Army’ themed. 

The latest cow celebrates the restaurant’s new sponsorship of Edinburgh Rugby Club. Decked out in the Edinburgh Rugby colours and an Edinburgh Rugby coloured tartan kilt and skull cap, I’ve made it look like a bit of a roughneck. 

Painting the underside of the beast requires a touch of cow-tipping.

Kyloe is also taking on organising the catering in the hospitality tent at Edinburgh Rugby’s home ground Myreside, so in this brief I had to keep both clients happy. 

Hand over of the cows – they are switched on a regular basis to reflect different seasons and events.

The final paint job has gone down very well with the staff and customers, and players from the team have been by a number of times to pose with their biggest supporter. 

Chris and two of the Kyloe cows with Edinburgh Castle in the background.

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Surf’s Up at Glasgow’s Bristol Bar

3 August, 2017

Bristol Bar Beach Party. 

The Bristol Bar in the east end of Glasgow has become one of my regular clients. In 2013 I themed their main bar with an excited Ibrox football crowd mural and I reappear annually to paint more portraits into the picture. Click here to see photos of the Ibrox mural. 

The Bristol Bar owners essentially gave me a large blue canvas box to paint in .

The Bristol Bar is a real party hotspot; they take fun very seriously. In July of 2017 they decided to hold a beach party using a redundant space at the back of the bar which was in need of a face lift. When I arrived owners Greg and Harry had created a sky-blue plywood-clad room as a gigantic canvas for me; the entire space was roughly 9 metres square and 3.6 metres tall. 

Good Vibrations in Glasgow’s East End

Overview of the mural in progress.
Detail showing the mixture of acrylic brush painting, freehand spray and stencil work used to build the mural.

 

 

 

The plan was to paint it in three days…. it turned out to be three very long days!   

The octopus features a dome with Rangers colours and utilises the existing wall light as one of its eyes. 
Surfing hammerhead shark and a great white with the board from an unfortunate Celtic fan.
Classic seaside cut out boards ready for the party.

Over the course of the project I painted a variety of scenes including a monster crab eating an ice cream cone, a parrot stood in front of a Bristol Bar-themed beach hut and a large octopus with a Rangers coloured dome, using the existing wall light as one of the eyes. I also created two cutout boards themed around voluptuous mermaids with holes for customers to poke their heads through. I also painted two large surfing sharks, a hammerhead and a great white. The bar wanted a comical nod to the Rangers rivalry with Celtic so I took a bite sized chunk out of the great white’s board and hung a rogue foot with a Celtic tattoo from the tether, as though the shark had stolen the board from a fan. 

The giant octopus incorporated an existing wall light as one of its eyes.
12 tonnes of sand was added to the room to create a more beachy environment.  
Bristol Bar beach partiers enjoying the brand new space, including the sandy floor! Photo courtesy the Bristol Bar.

The day after I left, 12 tonnes of sand were brought to the bar and installed in the space, followed by the installation of some fake palm trees and as a special treat they added a surf machine. 

Vying for a trip to Thailand on the surf board machine. Photo courtesy the Bristol Bar.

This was then used for a surf competition with the longest rider winning a holiday to Thailand. 

Partiers making good use of the cut outs. Photo courtesy the Bristol Bar.
Bristol Bar staff and friends joining in the sandy fun. Photo courtesy the Bristol Bar.

Plans are afoot to hold more beach parties as the year unfolds and really use the space to its best advantage. We may re-theme the room around different concepts in the future. 

Judging from their Facebook photos, the Bristol Bar really knows how to throw a party! 

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Back to School – New Murals at George Watson’s College

20 July, 2017

George Watson’s College Upper Primary School Murals 

 

In 2016 Junior School Headmaster George Salmond and I began discussing a potential project at George Watson’s College; he was really keen to have murals in the school that reflected the energy and enthusiasm of the current children. The plan was to work with Primary Four through Seven, ideally with all the children participating hands-on in the project. 

A mockup of the World War II evacuees illustration superimposed in the stairwell. 
A mockup of the Viking illustration superimposed above the existing tiles in the stairway.

Drawing directly from the school’s curriculum, each of the year groups were given their own historic theme; the Primary Fours learn about Vikings, the Primary Fives study the Battle of Bannockburn and the Wars of Independence, Primary Six learn about the Jacobite Rising and Primary Seven approach World War II as seen through the eyes of evacuees. 

A mockup of the Jacobites illustration superimposed in the stairwell.

 

A mockup of the Battle of Bannockburn illustration superimposed in the stairwell.

 I have previously done group projects with large amounts of children and I think it’s really important that all the children are involved and that they are empowered to express themselves as a small part of a bigger picture. 

I created four illustrations that would provide clarity and focus to the project, and came up with a plan so that the mural could be built remotely in bite sized chunks by the children and then fastened to the wall at a later date. Working in a school staircase which is also a chief fire escape route had unforeseen complications; understandably strict fire regulations meant that I had to ditch my usual plywood support and buy magnesium oxide fireproof sheet material, and once finished a fire-rated varnish had to be applied. Every day is a school day! 

Chris giving the first of two assemblies to the Upper Primary School, where he introduced the project to the students. At left are some of the boards from his Hogmanay mural.


The project was launched at two special assemblies where I introduced myself and my work, and I showed them my Hogmanay video. I emphasised the ambition and scale of the project but also underlined that the plan was to make all four murals in an incredibly short period of time. The aim was to have them built from scratch and installed in a three week period, dancing around the school timetable and the children were super excited. 

Chris prepping boards in Mr. Briggs’ classroom; at left you can see one of the time lapse cameras which were used throughout the project to capture the progression of the murals. 
Some of the ‘Evacuees’ mural in mid-production in Mr. Briggs’ classroom.

 In week one I was given the use of Mr. Briggs’ primary six classroom which was available while the whole year was away on a trip. Over the course of that week three of the murals had their backs broken. The children were shipped in class by class and though to the untrained eye the production process seemed slightly chaotic, in fact the children were incredibly productive. The focus of the drawings and my urgency for them to visually communicate as fast as possible helped drive the project forward. Throughout the project my studio manager Sheila Masson was on site helping to corral the kids and prep the paint and materials. She has an illustration degree amongst her many skills so is well versed in painting, though at times the energy and craziness of the factory we had set up proved a bit wearing on her. 

Chris explaining correct usage of paint brushes and palettes. This saved countless brushes from being destroyed, aided in more sensitive painting, and helped keep palettes from becoming nondescript vegetable soup. 
Chris demonstrating how to paint chainmail on soldiers in the Battle of Bannockburn mural.


The primary six students were due back from their trip at the end of the first week so we moved the production base out of Mr. Briggs’ classroom and into the art department with the help of a class full of strong-looking primary sevens. 

Teachers and students painting portraits in the Battle of Bannockburn mural.

 

Occasionally more paint went on the students than on the boards… 

During the second week we had the huge help of the art department staff. They had allocated two classrooms as a production base for the murals which was fantastic. It allowed us to have a space where one of the murals could be laid out in its entirety on the floor (so that we and the kids could literally see the big picture), and another that functioned as the main production base with individual boards laid on tables for painting. 

Sharing paint palettes and keeping the colours separate to prevent vegetable soup from forming.


By the end of the second week the children had nearly finished the murals, so much so that we had to start some smaller projects to keep them busy. With the help of the art department and a huge roll of white paper, we set up a large-scale drawing in the art department lobby plus four mural boards of self portraits by all the children sorted into their respective school houses. 

One of the two huge paper murals set up in the art department lobby as overflow/satellite projects.

 

By the time we reached the end of week three, all my anxiety was focussed around the difficulty of getting the mural hung. The stairwells are nearly eight metres tall so the initial plan was to source a boom lift to help with the hanging. In the end my assistant Charlie Savin and I managed to hang the pictures over three intense days from a scaffold tower – we were under something of a deadline as we had to complete the hang over the midterm break, while no kids were on the premises.

The children exploring the stairwells on the unveiling day after their half term break.


Sheila and I were there when the children came back to school on the Thursday morning and there was a huge amount of excitement. All the children felt the accomplishment and pride of being a part of a big community project. The project goals had been achieved and the children had left a legacy in the stairwell as testimony to their effort. As I had said throughout, not all projects grind at the speed of evolution. In this case change came like a creative tsunami. The stairwells are now resplendent in a new coat of vibrant age-appropriate artwork that will hopefully inspire generations to come. 

Chris in front of the Jacobite mural at the end of the project.


As with all of my projects, every step was filmed and time lapsed. Click HERE to see the final video of the murals’ creation.

And finally – the finished murals, pieced together:

The finished Viking mural.
The finished Jacobite mural.
The finished Battle of Bannockburn mural.
The finished evacuees mural, surrounding the original mosaic map.

Categories: Art, Murals

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Scottish Stars In West End Edinburgh Mural

28 February, 2017

Chris putting some finishing touches on the mural.

 

Watch a video of the making of the mural here.

I’ve known the owners of Edinburgh restaurant A Room In The West End for a number of years as I became friends with Peter Knight while playing with Boroughmuir Rugby Club.

I celebrated my 40th birthday with a meal at the restaurant; the food was great but a previous mural in the subterranean location was looking tired and needed refreshing. As the wine flowed I apparently told Peter this, and my charming rant must have struck a chord as several years later he called me up to commission a new mural.

The previous mural was in need of an update.

A Room in the West End is already an established fixture on the Edinburgh culinary scene; the food is excellent and it’s nestled below Teuchters – a great bar in its own right. Owners Peter and John wanted me to paint a cafe crowd scene to create a buzz in the space and reflect their central Edinburgh location with an urban horizon that made the room look bigger.

The plan was to build a broader restaurant scene with the Edinburgh’s Old Town as a dramatic backdrop, and the crowd in the scene needed to be busy enough to make the restaurant feel bustling even when it was empty. We decided that some customers and staff would be included but ultimately the crowd would be made up of Scottish celebrities. Some of these celebrities would also reflect the rugby heritage of the pub and restaurant, as Teuchters and A Room In The West End are one of Edinburgh’s favourite stops for rugby fans on their way to Murrayfield Stadium.

Chris begins to build the city as a backdrop for the bustling cafe scene.

In mid November 2016, my wife Fiona and I got to work in the restaurant, covering the the old mural with an undercoat for my painting. I then began painting the Old Town landscape from one end to the other, and then worked back again, fixing all the roofs and windows. This took about week in total and I now know the Old Town horizon line in minute detail!

Edinburgh’s Old Town stretches across the wall.

As this was in the build up to Christmas, fairy lights and baubles were hung from the paintings, doors and ceiling by Carol, one of the managers. As she was passing by me, I popped Santa on top of the Bank of Scotland at the top of the Mound for a little bit of festive fun.

Setting up the layout of the crowd scene before adding the individual portraits.
Painting in the first portraits – the two Sheilas.

 

Scottish rugby commentator Bill McLaren force-feeding Hawick balls to Gavin Hastings at the sporty table.

I then began painting the crowd. Owner Peter and managers Stephen and Carol provided me with photo reference from some of the regulars in the bar. I started in the middle in a well lit area with  portrait of Sheila Denney stood next to her good friend (and my studio manager) Sheila Masson.

Scottish football manager and player Alex Ferguson with his wife Cathy.

 

Then I started to move down. The first celebrity that I put in was rugby commentator Bill McLaren – I had him handing out Hawick ball sweeties to a flustered Gavin Hastings, with his brother Scott laughing as he looks on. After setting the background scene I started to fill in the crowd, first painting some restaurant and bar regulars and then I had great fun painting the Big Yin – Billy Connolly. I decided to pop the 80s children’s tv star Super Gran in the background behind Billy as he appeared in the show and sang the theme tune. Close to Super Gran and Billy Connolly I painted the Reverend I.M. Jolly, aka Rikki Fulton.

The Big Yin Billy Connolly and Super Gran feature in the mural.
The mural also memorialises some close friends and family who passed away recently.

About that time I heard the sad news that a favourite uncle of mine in Orkney, Charlie Rendall, had passed away and so I decided to paint him and his fabulous wife Muriel into the party scene. As I was on that theme, I added the portraits of two of my favourite aunts who passed away some years ago, and also my good friend Adriana together again with her daughter Chiara, who sadly also passed away.

Leith favourites The Proclaimers are all smiles with Shirley Manson of Garbage.

As I dug up more Scottish-themed photo reference, it was becoming obvious to me that it was really becoming a nostalgia mural and so I popped in Leith favourites The Proclaimers. Next to them I added my wife Fiona chatting up the lady from the dress shop up the road, followed by my wife’s friend Nicky swigging from a bottle of champagne while her good friend and Edinburgh rock goddess Shirley Manson from the band Garbage is laughing away.

The rock chick table enjoys the company of restaurant owner Peter Knight.

About this time restaurant owner Peter’s brother Andy was seeing the Facebook updates and asked where he was in the mural. I decided to expand the rock chick table and have Peter drinking a glass of wine with Shirley, Nicky, Susan Boyle, Lulu, KT Tunstall and Annie Lennox, while Lorraine Kelly looked on in the background. I thought that sounded like a fun table to dine at. Behind them I put Andy – he’s a bit of a character so I found a funny picture of him on his Facebook page and popped him in the background, being bored (along with the rest of the Still Game cast) by one of Isa Drennan’s gossipy stories.

International movie star Sean Connery looking disconcerted between the Rutterford brothers, Danny and Chris, as their friend “Glasgow” Andy looks on.

I was coerced into putting myself in the signature spot at the far right end of the painting, so I also popped the rest of the Scots that I go on annual “Tartan Army” rugby tours with. These included my brother Danny (with his trademark hippo hat on) and our friend Andy, wearing a classic combo from a tour gone by – dressed as a captain from the German epic war film Das Boot. I thought it would be funny to make Sean Connery sit at the table with us, looking a bit grumpy.

Chris adding detail to portraits, shortly before Christmas.

I moved back to the middle of the restaurant and started to work left, heading toward North Bridge. I managed to paint a few more rugby legends in, including Boroughmuir stalwart and British Lion Bruce Hay, and the great Scotland coaching duo Ian McGeechan and Jim Telfer. I was just starting work on Alex Ferguson and his wife when the Christmas holidays intervened. I stopped for a few weeks over Christmas for the festivities and to have a trip to Orkney for Hogmanay.

Before Christmas I had been getting up at six am and arriving on site at seven so that Peter could let me in to the restaurant before he dropped his kids off at school. That way most days I could paint about ten portraits by lunchtime, when the restaurant got busy I would need to clear out.

The cast of the first Trainspotting film with director Danny Boyle, plus actress/director Karen Gillan, and tennis stars Jamie & Andy Murray.

When I got back to Edinburgh after my Orkney trip, the Trainspotting 2 film release was imminent and coincidentally I had been planning on painting the characters from the first film into the mural. My friend Russell had involved in the production as his company ‘Driven Scotland’ provided the cars for the film, and so I said that I would paint the drivers’ portraits behind the Trainspotting stars.

I popped Dunblane tennis legends Andy and Jamie Murray behind them, along with children’s TV stars The Krankies. Finally I sat restaurant co-owner John alongside film actress Tilda Swinton and Dr. Who favourite Karen Gillan, so that John wouldn’t feel jealous of Peter being seated at the rock chick table – and then the mural was basically done.

After the completion I made a time lapse film of the creation of the mural which was then released to social media. Billy Connolly kindly give me permission to use the theme tune to Super Gran on the clip, which gave it a really strong Scottish tone without reverting to bagpipes, the name-dropping narrative of the song re-enforcing the celebrity nature of the picture.

Chris painting under the watchful eye of one of his time lapse cameras.
28/02/2017 The Sun article.
27/02/2017 The Times article.

 

27/02/2017 Glasgow Herald article.
27/02/2017 The National article.
27/01/2017 Edinburgh Evening News article.

The mural seems to have struck a chord with people as we’ve attracted great widespread national coverage with the mural, appearing in the Edinburgh Evening News, The Times, The Glasgow Herald, The National and The Sun.

Even better, the mural has received positive feedback from all the staff at the restaurant who have noticed a huge change in the atmosphere, and there is no lack of conversation at the adjoining as diners now celeb spot during their meals.

Plans are currently afoot to make further improvements upstairs in Teuchters pub, as well as to sister restaurant A Room in Leith (handily just steps from our new studio in Leith Custom House).

Watch a video of the making of the mural here.

The finished mural before the restaurant opened for the day.
Co-owner Peter Knight surrounded by rock chicks.

Full list of the celebs featured on the walls of A Room In The West End: Tilda Swinton, Shirley Manson, Sharleen Spiteri, Lulu, Annie Lennox, Susan Boyle, Lorraine Kelly, Rod Stewart, The Proclaimers, The cast of Still Game, Andy Murray, Jamie Murray, Danny Boyle, Kelly MacDonald, Shirley Henderson, J.K. Rowling, Ewan McGregor, Ewen Bremner, Jonny Lee Miller, Robert Carlyle, Kevin McKidd, Sean Connery, Princess Anne, Billy Connolly, Alex Ferguson, Bill McLaren, Scott Hastings, Gavin Hastings, John Jeffry, David Sole, Jim Telfer, Ian McGeechan, Andy Irvine, The Krankies, Rikki Fulton, Karen Gillan, Super Gran and Shrek.

A Room In The West End is located at 26 William St, Edinburgh EH3 7NH

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Bringing in the New Year with the Orkney Ba

18 January, 2017

2017 was brought in with a bang – by playing in the Kirkwall Ba’.

All photos by Sheila Masson, unless otherwise indicated. 

The Ba’ is a town-consuming obsession that possesses the capital of Orkney over the festive period. Where other Scottish towns are fixated on Santa and Hogmanay, the excitement building in Kirkwall revolves around the twice-annual Ba games which envelop the town on both Christmas Day and New Year’s Day.

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Doors and windows in Kirkwall are boarded up in anticipation of the Ba.

Upon entering the town, the first thing you notice is that every window, door and fence is fortified at chest height with robust planks. Girded for battle, these literally prevent windows and doors from exploding under the pressure from the bodies of scores of men.

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Custom-made planks are carefully labelled for repeated use on the same buildings, year after year.

The Ba is a version of medieval football with recognisable elements of traditional rugby, and its players are the men of the town. There was a women’s game in the 1940s but it was short lived as it proved too violent. There are two games played; one for men and one for boys (up to age 15).

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Directions are shouted by fellow team members perched atop a shop wall on the main street.

The rules of the game are simple. The two teams are known as the “Uppies” and the “Doonies”, with the player’s allegiance originally decided by whether he was born up or “doon” the “gate” (road). The ba itself is a beautiful custom-made leather medicine ball that is thrown into a maul of players by the winner of the game from 25 years previous. From that point there is no referee and no rules, save that the two teams self-police and have two distinct goals; the Uppies to touch the ba against a wall at the top of the town, and the Doonies must get it into the sea.

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The ba –  a handmade, cork-filled, leather ball. Photo: Wikipedia

Once the ba has reached either of these points, the battle’s focus suddenly changes and becomes an internal struggle amongst the successful team to declare one of their players the winner and the recipient of that year’s ba. The players will battle amongst themselves to award the ba to a worthy recipient; one who has put years of service into earning this round, leather trophy.

The winning of a ba will be one of the greatest days of their lives, and wives and girlfriends are in no doubt as to the importance of this achievement as winners have been known to sleep with their ba for months after the game.

OrkneyExtendedFamily
Some of my extended Orkney family, photographed in Kirkwall in the summer of 2016. Photo courtesy of the Rutterford Family.

Orkney winters are cold so fathers sometimes have many children, but not all will win their Ba.

I have a strong Orkney heritage on my father’s side; my paternal grandmother was one of six indomitable sisters who each sired a prodigious litter of offspring. This has resulted in a host of cousins both in the Northern Isles of Westray and Papa Westray but also in Kirkwall. I occasionally find them leaping out from behind random bushes to explain our bloodline during my visits up from Edinburgh.

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My cousins, the infamous Rendall Sisters; (clockwise from top left:) Ellie, Anna, Georgie and Sally, with my beard applied to each of them. Photo: Chris Rutterford.

One of my dad’s first cousins, Muriel Rendall, has four daughters and one son; George Rendall. George himself has produced four daughters, and despite generations of female tempering, George has stayed very much in touch with his masculine side, winning his own ba twenty years ago this year. Despite the fact he is now well over 50, and the ba is definitely a young mans game, George still plays every year. His wife Katherine listens to the explanations as to why the next will be his last with a rueful smile, as each successive year he hauls his shirt on, straps on his steel-toed boots, and heads down to the main street once again.

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George Rendall, Doonie men’s Ba winner in 1997. Photo courtesy George Rendall.
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Chris’s cousin, Uppie Kit Bichan, celebrating winning the 2008 New Year’s Day Boy’s Ba. Photo courtesy Wilma Bichan.

When I was ten, George told me all about this century-old Orkney game and in my young mind it was the most exotic, ridiculous and spectacular game that I had ever heard of. I arranged games of class-on-class no rules ‘foul football’, played with a flat and exhausted ball – until our sport was eventually banned due to a nasty wrist break.

In 2003 I finally played for the first time, fulfilling a decades-long ambition. I may have been fourteen years younger then, but I’d also been laid low by the norovirus, gifted to me over Christmas dinner, I suspect an extra treat concealed in one of the colourful crackers.

I spent four days on the couch with a bucket at my side, losing pounds of muscle and several stones in man-fat in the process. On the journey up from Edinburgh, I had curled up in the rear seat of my brother’s car with my future wife Fiona. When we got to our digs, I turned the bathroom in my Auntie Muriel’s bed and breakfast into a small corner of hell, with my bum on the throne and my head in the sink, heaving long past the point of pointlessness.

The 2003 game lasted six and a half hours, and despite a valiant effort, we lost. We got stuck in a petrol station forecourt for several hours and it grew dark. Eventually we were marched forcibly, reluctantly tripping backwards up the road to defeat at the Uppie’s wall.

This experience made a big impression on me.

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A telltale sign of team allegiance on a player’s socks.

The Ba both unites and divides the community of Kirkwall in equal measure and in our family alone we have some cousins who are Doonies and some who are Uppies. Wilma Bichan, George’s sister, has a mix of Doonie and Uppie sons. One of whom, Kitt (an Uppie son) won a boy’s trophy. As I came in by sea (via the ferry) I play alongside some of my cousins with the Doonies.

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Girls enjoying the spectacle of the Ba from the warmth and safety of a first floor window on Main Street.

I find it fascinating how this seemingly insane sporting event bonds the town so tightly and seems to forge a communal spirit that is quite unlike any other. The passion is muscular and infectious.

In the summer of 2016 while I was up in Orkney visiting relatives, I spotted an Orkney Islands Council pamphlet asking for ideas for potential improvements to their urban landscape. This was like a clarion call for me. They may have meant benches or street lights but that’s not what I had in mind.

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A small section of my Bannockburn mural, installed at the Battle of Bannockburn Visitors Centre in Stirling.

Ever since playing in my first game, it has been an ambition to paint the Ba, and in my mind I have been building towards it. My career over the last few years has focussed on painting intense crowd scenes, beginning with my 2010 Jacobite Stramash painting, moving on to my epic 22 metre long Tam o’Shanter mural, the Edinburgh Hogmanay, the Joy of the Goal at Ibrox Stadium, the Battle of Bannockburn and many more. My emphasis has been on building massive, ambitious paintings that allow real people to contribute photo reference and to celebrate community-uniting events and joyful parties, both contemporary and historic.

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Putting the finishing touches on the Flying Scotsman mural in Galashiels in 2016. Photo courtesy Phil Wilkinson / www.philspix.co.uk

The goal is that these paintings should create spaces which reflect community spirit and a collective humanity; a reaction against the proliferation of the idea that community does not exist. I paint manifesto artefacts that prove the opposite; jaw-dropping in scale, intensity and life. Over the last few years I have consistently stepped up the ambition and scale of the paintings that I make. The locations of these pictures have grown from restaurants, bars and museums to now including town centres and public art. My belief is that if you can build a virtual party, it is a small step to an actual gathering in the space next to it. My pictures create environments which feel busy and vibrant, adding atmosphere to previously quiet spaces. Several clients have remarked on the increase of footfall and business since my work was installed on their premises – job done!

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The Hogmanay mural during its installation in the Tron Kirk on Edinburgh’s Royal Mile during the 2013 Edinburgh Festival.

From the outset, the Ba’ was a picture that I wanted to paint. The nature of these murals means that they take a huge amount of time and energy on my part, painting the likenesses of thousands of souls can leave me feeling like I’ve been emotionally mown down by a tour bus and dragged along the tarmac for months. Stories that have personal and emotional significance for me just makes the effort much easier to rationalise.

After I found the pamphlet, I made contact with the Orkney Island Council and we have had initial tentative discussions. Whilst there is enthusiasm on both sides, there are a large number of hurdles to jump over in order to make this happen.

Nevertheless, I used the potential mural-making opportunity as a pretext for playing the game again. I convinced my wife Fiona that at the age of 43, it was imperative that we head up to Kirkwall in late December through typical howling gales for the game.

Can we call it players provenance? If I don’t put my body on the line why should I get the shot?

We also took along my studio manager Sheila Masson who is an experienced and bloodthirsty photojournalist, in order to take reference photographs whilst I was otherwise occupied with the game.

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The eerily empty streets of Kirkwall, minutes before the two teams begin their march into the centre of town.

This year, the New Year’s Day game was delayed until Monday, January 2nd as the Ba is never played on the sabbath. George took myself and his daughter Ellie’s fiancee Ben to a Doonie house to get ready, and there I met my cousin Devo MacPherson again for the first time since 2003. He’d been wearing his lucky Arran jumper last time we met, but he said it was long since discarded; “Must have shrunk’, he proclaimed, apparently nothing to do with the foot of lateral muscle he’d put on in the past decade.

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The life cycle of my ingenious but ultimately useless improvised shin pads: 1) Fresh cardboard before the Ba. 2) After the Ba – boots still duct taped to my trews. 3) Cardboard tubes reduced to a soggy papier mâché mess. Sadness. Photos: Chris Rutterford.

I had omitted to bring any shin pads with me, optional protection in the brutal scrum. There were some raised eyebrows at my ingenious plan of splitting Highland Park whisky packaging tubes round my lower legs. The local distillery may be good for the tourists but sadly, given 30 minutes in the event, my improvised shin pads had all the protective properties of sweaty papier-mâché.

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Using duct tape to keep our boots on.
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A small tribe of Doonies making our way into town for the start of the Ba.

We strapped our boots on with duct tape to stop them from deserting our feet, and along with a keyed-up gang of Doonie foot soldiers, we made our way through the residential streets to the rallying pub in the centre of Kirkwall. This time around I definitely noticed the youth and vigour of some of the other players, but using the applied stupidity which I’ve honed to a keen edge, I resolved to forcefully ignore it.

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Handshakes for each player as we enter the Doonie’s traditional watering hole before the Ba.

As they entered the bar, every player was greeted with a hundred approving handshakes as he crossed the threshold; more meat for the grinder. Some swilled a restorative nip of whisky, while all filled their gut with water, and then the team marched en masse up the Main Street already filled with spectators, meeting the steely horde of Uppies in the shadow of St. Magnus Cathedral.

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The crowds start to gather in front of St. Magnus Cathedral; by the start of the Ba this area will be filled.

Onlookers lined the wall in front of the cathedral, leaning out of first floor windows, perched on the protective wooden barriers, spying familiar faces in the throng and shouting words of encouragement to their teams.

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The Uppies march into town to face their rivals.

We were ready but in no doubt that the Uppies meant business. The Christmas game had seen a freak event totally at odds with the norm. The ba tapped down to a Doonie sprinter, who managed to run it to the sea without a finger laid on him. All over inside 15 minutes, without battle joined in earnest. After a year’s wait it was something of an anticlimax.

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The Doonies marching up from the harbour; 1997 Ba winner George Rendall is visible in the centre in yellow and Chris and his cousin Nicky Bichan are at far right.
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Spectators wait on the street and in upstairs windows for the Ba to start.
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After the ba lurches down Main Street and away from the Mercat Cross (visible in the background), spectators wait to see where it will go next.

The game begins with the “throw up” – when the ba is hurled from the Mercat Cross into the seething mass of men, thrown by the winner from 25 years before. In this case it was a white bearded man with more than a hint of Kringle about him. As fate would have it when he threw it in, the ba landed just above my head –  a gift! So I claimed it from amongst a sea of hands above my head and tucked the parcel in my gut, like I was on a rugby pitch. It wasn’t quite like that.

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After the “throw up”, the players scrabble for the ba.

The pressure from the first squeeze forced the large ba into the area where I primarily keep my beer belly – an organ-rearranging and nauseating feeling quite unlike any I have ever felt before. I lasted about two minutes before I was obliged to push it round my pelvis and edge it back to members of my team. It was a small moment and had no impact on the game at all, but it mattered to me.

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Chris’s cousin Tommy Bichan amongst the heaving mass of bodies in the Ba.

Part of me likes to believe that physical events like this can be reinterpreted as a concrete metaphor that has significance of future history… they are as real as I want them to be. Maybe this was meant to be…?

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Chris relishing the crush of the Ba.

During the game, if the maul stays on the Main Street (as it did this year), instead of rolling down an alley the physical pressure is all the more intense – all 300 or so players can engage with the push. Every twenty minutes or so during the first hour, I had to retreat from the pack to relieve the rib-collapsing pressure on my sternum, threatening to crush my internal organs. I had to pull my chest forcibly apart and expand my heart and lungs before heading hack into the fray.

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Steam rising from the Ba players as the sunlight hits the crowd.

Despite the occasional sprinkle of rain, a lack of wind meant no fresh oxygen was reaching the players, and a mist of stale breath and man-steam hung in the air like dry ice – you could physically claw it aside. This all added to the heightened atmosphere, and even in moments of discomfort like this, the artist in me starts plotting; the muscular reality of the maul contrasted against the eerie Turner light effects rung a chord as a way forward for a picture.

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The ba has made its way towards the buildings and is seemingly lit by the hand of god.

I had been warned by George that I’d need to find my zen place. This was mine.

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15 year old Connor Hancock, winner of the 2017 New Year’s Day Boy’s Ba, is hauled out of the alleyway over the heads of the players after playing in his second Ba of the day and his first ever men’s Ba, as is tradition. Several adult men were also rescued from the centre of the crush in this manner.
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Chris’s cousin Kit Bichan (centre) winner of the 2008 New Year’s Day Boy’s Ba, in the maul outside the alleyway. The meat in an Uppie sandwich.

The game progressed, heaving in fits and starts towards the sea (to the delight of the Doonie spectators) but after we were stuck down an alleyway for over an hour, panting on the recycled breath of our peers with already crushed lungs, the novelty started to wear thin. Being forcefully scraped down the harled walls of an alleyway like dehydrated sardines on dry toast can rapidly lose its appeal.

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Putting the pressure on the mass of bodies in the alleyway.
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Multi-generational involvement: Chris’s dad Mike in the flat cap, and son Red (centre), peering into the maul looking for his father down the constipated alleyway.

Not for my son Red though, when I emerged he was aglow; eyes sparking, entranced by the action.

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Players break from the scrum to chase the ba – or possibly just to mislead the other team.
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Handbags at dawn: a scuffle breaks out in the periphery of the maul.
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As the light starts to fade, shouts from the crowd indicated that the ba had been smuggled out of the alleyway and chaos ensued.

In a sick pastiche of my first game, we eventually left the alley by mutual consent. The Uppies had waited for dark and though we were no further than 250 metres from the sea at our closest, they managed a “smuggle” and a score of men successfully muscled it at a trot up the street to their goal – the Uppie wall. Players and spectators alike ran through the streets to follow the ba; I never saw the final moment of impact but from a distance the telltale flash of cameras told the fate of the day.

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The crowds follow the players after shouts that the ba has slipped out of the alleyway and home to the Uppies’ wall.

The game had lasted for around four hours. Back in the Doonie pub the mood was muted. After the crush of the day, I felt little enthusiasm for crowding for beer.

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Crowds waiting to hear the announcement of the winner of the ba in front of the Uppies’ wall.

It had been a good game but we had lost. The only salt on my clothes was dried bitter sweat, not sweet salty brine. To be honest, I’m under no illusions – I was clearly just an enthusiastic pawn in the Ba (and maybe most people are). After the throw up and beyond that first significant moment, I really only fleetingly saw the ba once, as it squirted out of the top of the maul like a fat rogue salmon showing its belly, before ducking back into the maelstrom.  Beyond that, I was just following mob rumour, chasing ghosts. There are tactics and there is strategy, but I’m under no illusions that I have any master perception in the game, so I just shut up and pushed. Although I also took joy in using stranger status to spoil it for Uppies, I have been asked multiple times by sceptics if I enjoyed the game; yes, but some of the experience is better in retrospect.

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Chris and Andy from the council on a site visit in Kirkwall to investigate possible locations for future murals and public art.

Hopefully, this now is a small first step in a long journey, and two years from now I will have painted the pictures that are in my head. The day after the Ba I again met with my contact at the council and we walked the streets of Kirkwall, looking at walls and spaces that might be appropriate locations for public art.

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A discarded sports shirt lies in the street the day after the Ba.

As we passed, I stared disbelieving at the abandoned alley that the day before had held a hundred  men, now just haunted by the ghost of yesterday.

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Removing the protective wooden beams from the front of every shop and house in the centre of Kirkwall.
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Planks are removed from the centre of Kirwall for storage until the next year. Each custom-measured beam is carefully labelled, indicating which building it is designed to protect.

I’ve conceived a possible plan from this site visit which could tell a story of the Ba in a fair, balanced and dramatic way. It would be vital that despite my Doonie roots, both sides of the scrum get fair representation. I may have Orkney heritage but I am under no illusions that this is not my story; it’s intensely important to tell the story properly and represent the myth for the true faithful with integrity.

If I do get to paint the picture, my hope is that it would be the most ambitious and spectacular piece that I have ever made, in keeping with the monumental nature of the Kirkwall Ba. It’s a future history in my minds eye, but it would require the help and enthusiasm of the locals to make it happen.

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Duct taped boots outside the alleyway.

Watch this space; for now, it’s baby steps. Hopefully as long as I keep my boots on my feet and that knot in my gut, we will get there in the end.

Categories: Murals

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A Custom House Christmas

21 December, 2016

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The digital flier for the Christmas event, showcasing the neoclassical Georgian building in which we now work.

Celebrating the Season at Leith Custom House 
 

After six years at my previous studio at St Margaret’s House in Edinburgh, I recently moved to Custom House in Leith; a stunning neoclassical pillared building that is a central landmark on the Leith landscape. After a prolonged period as the National Museums of Scotland’s storage facility, this A-List Georgian building is now being managed by the Scottish Historic Buildings Trust who are encouraging a wide variety of creative people to build a new hive of activity in the heart of Leith.

There are two distinct buildings on the site: a the larger, more grand building situated on the corner of the Commercial Street and the Water of Leith, and the “cruiser” store, located behind the main building on a narrow cobbled lane that has been hidden from view for years. My new studio backs directly onto this lane via an extremely handy loading bay and this provides me with much better access for loading my often bulky murals.

Even more exciting however is the nascent creative community that is burgeoning within the space. The Christmas event on 17th and 18th December was the first open studio day that I’d been involved in at the Custom House since the move and therefore I thought I’d celebrate by undertaking my first live painting event in the new space.

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Studio manager Sheila Masson at work covering the walls of the loading baywith an undercoat of emulsion.
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The loading bay makeover fully underway as it is transformed into a Narnia-themed space.

The large loading bay was an extremely bland and tired-looking area so with the blessing of SBHT Director Una Richards, we set out to give it a seasonal makeover. As our new studio opens directly onto this space, I felt it was extremely important it project the creativity and joy that the new building and its new tenants aspire to. I enlisted my studio manager Sheila Masson – a talented artist (as well as a powerful brain) and we started work on the Wednesday afternoon, priming the space in preparation for our plan.

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Sheila and Chris adhering to health and safety during extensive spray work in the loading bay.
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A gigantic Aslan appears out of the snowy landscape in the loading bay.
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Sheila flexing her muscles on the scaffolding as she applies spray painted hand-cut stencils late into the evening.

We decided to paint a Narnia themed mural as although there is a Christmas element to the story, it does not define it, so therefore the mural will remain relevant till spring. We spray painted a snowy landscape with a large scale Aslan and the ubiquitous lamp post front and centre. Sheila made a number of beautiful snow stencils that really set the tone and we quickly built an atmospheric frosted landscape.

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Detail of some of the stencilling and freehand collaborative work that Sheila and Chris created on the loading bay walls.
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Detail of some of the stencilling and freehand collaborative work that Sheila and Chris created on the loading bay walls.

Come the main event on the Saturday however it was important that we kept spray paints to a minimum due to the health and safety issues (and the pong!). The alley was filled food stalls and visitors to the building as well as regular Leith Farmers Market shoppers who wandered into the newly revealed space.

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Visitors to Leith Custom House wandering through the loading bay and out into Custom Lane, where they could enjoy hot food and do a spot of Christmas shopping.
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We also set up a stall of our own posters, prints, postcards and t-shirts (also available on our website if you missed out!) which were very popular for Christmas presents.
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Chris painting life size cut outs during the Christmas event at Leith Custom House.
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Santa nestled in the loading bay.

Moving on from the spray painted walls I changed my focus to shaped life size characters from the book, cut from large sheets of wooden board. I snared a few tenants and SHBT friends to pose for the The White Witch, her dwarf, Mr. Tumnus and a large scale Santa.

To keep the characters on theme and to compliment the visuals in the loading bay, I reused Sheila’s stencils to add surface detailing. The end result had a vibrancy reminiscent of textile design or a Rauschenberg painting.

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Detail of the White Witch’s dress which utilises some of the stencils that Sheila made for the loading bay walls.
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Stencils drying on the scaffolding during the painting of the loading bay.

The joy for me in collaboration is that every new partner brings fresh tools to the army and in this way Sheila’s stencils and application to the cause really enriched the product and added a further depth and subtlety to my directness and drive. 

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Interaction between Chris’s freehand and Sheila’s stencilled spray work.
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Three of the Narnia cut out characters inserted into their virtual stage set in the newly painted loading bay.

The loading bay mural is now established and the plan is to periodically adapt the visuals over the coming months and years. The hope is the magic will be infectious and over the coming years the building will permanently acquire some of the magic of Narnia.

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Scots in the West End

20 December, 2016

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Chris painting portraits on December 20th, 2016.

Adding atmosphere to an underground restaurant

Video now ready – watch here 

I am currently painting a new mural for the William Street restaurant ‘A Room in the West End’, an Edinburgh establishment downstairs from Teuchters pub. I have dined there a number of times, most recently on my 40th birthday and I know the owner Peter Knight through my long affiliation to Boroughmuir Rugby Club.

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The exterior of Teuchters pub in Edinburgh; the Room In the West End restaurant is located inside and down the stairs.

They already had a mural in their cosy subterranean location, but the last time that I dined there I mentioned to Peter that I thought it was looking a little tired and dated. I suggested that they could do with a rethink as it wasn’t adding value to the restaurant. It took a year or so but Peter came around to my line of thinking and agreed to have me fix it for them.

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The initial design of the mural for the restaurant walls.

The brief as was to reflect the West End/Central Edinburgh location, to visually push the wall back with added depth, but also make the room look exciting, populous and atmospheric. Ideally the mural would become a talking point and would make the restaurant a destination venue. I decided to combine my signature crowd mural concept with a 12m landscape depiction of Edinburgh’s Old Town, sweeping across the skyline from North Bridge to Edinburgh Castle.

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Billy Connolly and Super Gran lurk amongst the well-kent Scottish figures in the mural.

Originally the discussion as to who would be painted into the crowd revolved around the use of regulars, locals and restaurant staff, but also with a strong rugby element as the pub is a haunt of the Six Nations Championship revellers. However the mural has quickly become a nostalgia piece to innumerable Scottish celebrities and the crowd is now a 50/50 mix of celebs and punters, which should result in visitors looking more closely at the painting in order to identify the well-kent faces amongst the lesser-known crowd. 

My crowd scenes frequently feature one or two celebrities but largely my focus has been on the general public. In my twenties I worked for as a magazine illustrator, painting for over 30 different magazines and they would often ask me to paint celebrity portraits within the context of editorial illustrations. So working on this mural has in many ways felt like a blast from the past for me.

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Scottish musicians The Proclaimers, Shirley Manson and Rod Stewart join in the revelry in the mural.
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Chris using his ever-present iPad for photo reference during the painting of the mural.

The extra muscle memory from painting around 6000 portraits in the last five years has meant that I have found this task considerably easier than I used to. The internet has improved celebrity photo reference immeasurable – laying hands on good celebrity photo reference is so much easier and allying that with my ubiquitous iPad has allowed the mural to build relatively easily.

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Some of Edinburgh’s Old Town buildings depicted in the mural, looming above the ghostly outlines of people whose portraits are waiting to be painted.
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Scottish singers Susan Boyle, Lulu, and Sharleen Spiteri of the band Texas make an appearance in the mural.
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Room in the West End owner Peter Knight enjoys the company of Sharleen Spiteri, KT Tunstall and Annie Lennox at his table in the mural.
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Chris painting the mural in the early days of its progression – the skyline has been completed but the portraits are yet to start.

The only real issue has been negotiating painting time around the comings-and-goings of a successful restaurant. In order to not disrupt the customers’ meals, I’ve had to work in and around the Christmas rush which has meant arriving at 7am and leaving around 2pm. After the initial painting of the Edinburgh skyline, each day by lunchtime I have typically managed to produce around ten portraits.

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Painting the first portrait of the mural.
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Chris consulting his iPad during painting.

My plan is to finish the mural by mid January and launch the mural publicly in time for the Six Nations tournament – hopefully with some more famous rugby faces identifiable in the crowd scenes.

Categories: Murals

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