The Aftermath Dislocation Principle (ADP) is a trilogy of artworks by Jimmy Cauty on a nationwide tour across the UK – each artwork is a 1:87 scale model housed in a shipping container, which are viewed through observation ports in the sides of the containers. It was also installed at Dismaland, the temporary art project organised by street artist Banksy and constructed in the seaside resort town of Weston-super-Mare in Somerset, England in 2015.
The artwork has been touring the UK in 2016, specifically appearing in venues where there has been a history of rioting. Edinburgh’s Grassmarket was chosen as one of the tours destinations as it was the scene of the 1736 Porteous Riots, when Captain John Porteous, an unpopular chief of the City Guard, was overseeing the hanging of a local smuggler Andrew Wilson. When the watching crowds began to get unruly, Captain Porteous instructed the City Guard to shoot above the crowd’s heads and they subsequently wounded local residents who were watching from tenement windows. This exacerbated the already volatile situation, at which point Porteous instructed the the City Guard to shoot into the crowd, resulting in the deaths of six people.
Captain Porteous was arrested for murder but after discovering that plans were afoot to arrange a pardon for him, a mob converged on the Tolbooth on the Royal Mile and he was dragged out of his prison cell and back down to the Grassmarket, where he was lynched, dying a deeply unpleasant death. Captain Porteous was buried in the adjacent Greyfriars Kirkyard in a grave marked with a simple ‘P’. This was replaced in 1973 by a stone bearing his full name and the moniker ‘All passion spent’.
Ahead of the closing weekend of the ADP Riot Tour’s installation in Edinburgh, I was asked by the Greater Grassmarket Business Improvement District (BID) and events organisers Too Much Fun Club to paint a mural of the scene alongside renowned Scottishstreet artist and illustrator, Elph. Working on connected octagonal boards, Elph and I engaged visitors to the Grassmarket as we worked on our separate but related public art works.
Elph invited audience participation with hands-on painting by the public, and I convinced visitors to pose for portraits to be incorporated into the scene. My crowd scene painting was inspired in part by James Drummond RSA who painted the riot in 1855.
Our pictures were situated back to back over the weekend and it was really great to have the two different styles complement and contrast one another and in an unintentional twist, even our clothes ended up matching our paintings.
Elph also created some fantastic 360 degree footage of the two murals which can be viewed here: Elph 1 and Elph 2
The Greater Grassmarket Business Improvement District is a five-year project (starting February 2013) where all businesses within the defined area have come together to invest collectively to benefit business and local economy growth through local improvements, activities and business support in addition to those delivered by City of Edinburgh Council and Scottish Government. Their objectives include creating a sense of place, attracting more footfall to the area and raising the profile and improving the perception of the area, and I am delighted to be involved in these ambitions.
In 2014 I created my Half Hangit Maggie Dickson mural within this Greater Grassmarket BID area, live painting onsite the notorious story of the one of the areas most famous residents – a fishwife from Musselburgh who was hanged in the Grassmarket on the 2nd of September 1724 for murdering her illegitimate newborn baby. Miraculously she survived the hanging and as she could not be executed for a second time for the same crime, she received a full pardon and went on to live a long life, garnering the nickname ‘Half Hangit’ Maggie.’
In September of this year, the Greater Grassmarket BID events team led by Callum Ross wanted some extra colour in their proposed ‘Mobility Week’. Designed to celebrate mobility in all forms and set it within the historic context of the Grassmarket, they commissioned a diverse group of performers which included musicians, actors and even penny farthing demonstrations running up and down the square.
I was asked to provide some pictorial colour and I produced a two metre by two metre Victorian-era painting of two men on penny farthings racing a donkey-riding man through the Grassmarket. I took inspiration from the classic beachside postcards produced by Donald McGill in the early to mid 20th century, and built a painting that was fun and light humoured, very much in keeping with the spirit of the day
As always I asked visitors at the event to participate as characters in the picture, and they really entered the spirit of the piece. In addition to the new painting, I took my Maggie Dickson mural along and it was used as an evocative backdrop for the performers on the stage beside me. If possible it’s always nice to have some visual context from one of my previous artworks and visitors seem to enjoy seeing other finished pieces.
The event was held on my birthday and was a splendid way to spend the day, which was topped off by the best pastry ever delivered by Sheila, my studio manager.