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.
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.
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.
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.
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!
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.
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.
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.
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.
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.
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.
The mural was also featured in an article in the Edinburgh Evening News as part of the school’s celebration of the new bridge.
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 ThreeSisters 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!
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.
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.
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!
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.
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.
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.
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.
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.
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.
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.
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:
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.
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.
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).
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.
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.
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.
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.
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.
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.
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.
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.
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!
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.
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.
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.
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.
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.
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.
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.
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.
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.
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…?
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.
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.
I had been warned by George that I’d need to find my zen place. This was mine.
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.
Not for my son Red though, when I emerged he was aglow; eyes sparking, entranced by the action.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
In late 2015 I had a meeting with a local Scottish Borders community organisation called Energise Galashiels. Once dominated by a thriving textile industry and the subject of two Robert Burns poems, the group were concerned that Gala town centre was becoming bedraggled and they were resolved to rectify this.
The opportunity to work with a motivated local group in order to help change the destiny of a town seemed like another exciting artistic adventure. I had worked on a similar project in the Midlothian area of Mayfield and Easthouses, creating a community mural with school kids to enliven the entrance to their town.
We resolved to launch a new crowd mural using the impending visit of the iconic Flying Scotsman train both as subject matter and as a launch event. I brought my train to town on 12 bespoke five foot squared canvas boards and locals were invited to put their friends and family into the picture for a modest donation.
Dressed in my usual painting regalia (a leather kilt, tweed waistcoat and top hat) I worked in town from Friday morning through till Sunday evening, painting the picture and collecting photo reference in the form of portraits of Gala locals. I had helpers in the form of two young painters named Kat and Robbie, plus my mate Charlie and two Sheilas (Sheila Armstrong and Sheila Robertson), who worked as a team gathering the reference material. My kids Red and Riley also helped on the Sunday.
After the live painting event in Galashiels, I took the picture back to Edinburgh’s Tron Kirk which was my main Edinburgh painting base at the time. I worked on it publicly for the next four months on and off, which basically involved digging my way out from underneath the mountain of photo reference that we had collected. I also painted a mixed selection of Galashiels notables and celebrities into the picture… and also Scottish TV favourite Lorraine kelly who always features in my pictures.
The finished painting was unveiled in Galashiels by Lord David Steel on October 1st, during the inaugural Creative Coathanger festival which featured a fortnight of events and artistic activity designed to cement Gala’s place as a creative hub for the borders and take advantage of the brand new train link. Many excited participants gathered in front of the mural to find themselves amongst the painted crowds and the event garnered articles in all the Scottish newspapers and on STV Borders.
The real hope is that this brand new and welcoming imagery at the doorway of the town will help create a new story for the community and support the forging of a bright future for Galashiels.