Dancing Wave mural- Accompanying Publication by Healy Arts by healyarts-projects

D A N C I N G WAV E G l a s g o w ’s L o n g e s t M u r a l

Accompanying publication by Healy Arts

‘Dancing Wave’

The Longest Mural in Glasgow A n I ntroduc t io n b y H e a l y A r t s

It has often been said that Glasgow turned its back on the Clyde. Unlike Paris or Florence, where a whole architecture of pleasure and worship developed around their riverbanks, Glasgow’s relationship with its river was confined for a long time to an intensive process of industrial exploitation, as soon as it was deepened and widened enough to accommodate ocean-going vessels. To escape the everlasting clangour of the shipyards and cargo-loading docks, the population was largely inclined to retreat from the river on both sides. It is only in the past few decades, since the unforeseen decline of those industries, that we have made any attempt to reverse that process and repair the damage. We are still trying to reimagine the ways that the Clyde might flourish in the future, and to see it as a domain of leisure rather than labour. We might not be able to return to a time when it belonged primarily to fishermen and their boats, and the water was always clean enough to bathe or wash clothes. But sizeable new communities have grown up where the docks used to be, in apartment blocks on the north and south embankments, and one of the most welcome omens is the revival of wild marine life in the tidal stretches, where seals and swans have taken up residence. Like the Scottish Exhibition Centre and other new landmarks, the Riverside Museum and its ‘Tall Ship’, the Glenlee, have played a large part in the reinvention of the Clyde, as a focus of tourism as well as local interest. The process is continuing westward across the mouth of the River Kelvin, where a new bridge is now being built to connect the ancient burghs of Partick and Govan. One of the largest forthcoming projects is the development of the derelict area that was once the Meadowside Shipyard, on the west bank of the Kelvin, [where the owners Peel Port plan to develop accommodation, retail and leisure facilities that will re-open this part of the Clyde to the public in two or three years’ time.] The whole area is currently enclosed by a perimeter fence, stretching as far as the Harbour Flats that were once the site of the Meadowside Granary, and Healy Arts conceived the Dancing Wave mural as a means of making the environment more attractive, while this redevelopment work is in progress. The project stemmed from Glasgow City Council’s River Activation Programme (GRAP), which supports temporary interventions on vacant or underused sites along the River Corridor, with the aim of making them more vibrant and liveable. Its key priorities include:

• • • • •

Stimulating direct engagement with the river, to enhance the city’s relationship with it; Improving access, to encourage greater use of the River Corridor at different times of the day; Engaging with local communities along the river and the wider city; Animating the waterfront through a variety of occasional activities, and Supporting healthy initiatives, through an enhanced natural environment.

The Dancing Wave Mural project was undertaken by the Healy Arts Charity, established by Glasgow-born artist Siobhan Healy in 2021. The Dancing Wave was conceived as a continuous white line that would connect a series of artworks, each telling its own story – weaving and meandering, but connecting physically and metaphorically. It was a daunting undertaking, in view of the sheer length of the project, (more than 1000 meters) but this continuity was essential to pull the various artworks together. We asked the commissioned artists and volunteers to work with a restricted palette, of white, various shades of blue & light turquoise green, to help to unify the final effect. As well as providing opportunities for artists and the public, one of Healy Arts’ main objectives is to advance education in the form of training, in specialist materials and endangered crafts. We had been working with local arts groups based in The Annexe Healthy Living Centre in Partick and at the Gallery of Modern Art, and these workshops contributed to the final work. A particular interest is in the integration of traditional crafts with digital technology, to keep manual skills relevant within modern society. One way we experimented with this idea was to combine handpainted artwork on the mural with Augmented Reality (AR) cartoons, to make elements of the mural ‘come to life’. We also experimented with artificial intelligence design (AI) combined with the heritage skill of diamond point engraving. One of the most enjoyable benefits of painting at the site came from the surprising number and variety of people who stopped to chat and comment appreciatively on our progress. Dog-walkers, joggers, shoppers and strollers would write in our comment book, about how much they love the improvement to the area, and even vehicle-drivers and cyclists would shout words of encouragement as they passed. (“You’re cheering us all up!” yelled one lorry-driver, stopped at the traffic-lights.) This gave us a satisfying sense of engagement with the local community, some of whom became friends, and even shy visitors to the city, on the way to or from the Riverside Museum, were intrigued enough to stop and inquire, often in halting English! Some even joined in spontaneously with the painting, and all this had a very positive effect on the artists. We began to feel that we were making a real difference to the atmosphere helping to draw the riverside community together, by expressing the River Clyde’s identity, and making our riverside environment feel more valued. 3

The Individual Stories & Artworks Within the Dancing Wave Mural Image: ©Healy Arts 2023

1. THE GRAFFITI FISH

Ar t is ts : Si obh a n H e a l y a n d a n o n ymo u s c o n t r ib u t o r s. When first embarking on the project, we were keenly aware that the whole perimeter of the site, as in most areas that are perceived as derelict, had been a target of graffiti ‘taggers’ ever since its construction a few years ago. But we were reluctant to erase the tags completely, especially when they used vibrant colour and inventive design, and we were alerted by some indirect feedback, suggesting that the taggers would regard complete erasure as ‘inflammatory’. It was difficult to engage in dialogue with them, given the secretive and illicit nature of their activity, but we were lucky to discover that one of our commissioned artists actually knew some of the taggers, who later gave us permission to cover their work! We have still to learn how they feel about our adaptations, but we had meanwhile decided to integrate the more attractive tags into our own designs, notably by converting the existing graffiti into various images of fish, always connected to the line of the ‘dancing wave’, at intervals along the whole length of the mural. It is likely that the site will continue to attract local taggers, but we have already illustrated how this will be handled. 4

Als o featuri n g ‘ G o W it h t h e Flo w’ an imat io n b y ar t ist A my Br u n ing

Image: ©Healy Arts 2023

To view ‘Go With The Flow’ Augmented Reality (AR) animation download Eyejack app and scan QR code The text ‘I GO WITH THE FLOW’ was added unofficially as graffiti to the completed fish, but it was later used for the amusing AR animation by Amy Bruning, which is activated by downloading an Eyejack app and then using the QR code at the site.

Image: ©Healy Arts 2023

2. PORPOISES ON THE MINCH & WESTERN ISLES FERRY Ar t is t: G erald M a n g a n

At a time when immigration from the Highlands was reaching a peak, as a result of the Clearances and other upheavals, ferries once arrived at the Broomielaw in Glasgow, from Kintyre and the Western Isles. The service represented a vital link with home and remote families, and Gaelic-speaking communities in Glasgow would remain close-knit through many generations. (The so-called ‘Highlandman’s Umbrella’, under Central Station, acquired the nickname at a time when the city’s only Gaelic church stood just around the corner, on Oswald Street.) The present-day ferries across The Minch, to Stornoway or Lochboisdale or Castlebay, are still frequently pursued by playful shoals of porpoises, and it isn’t unusual to sight whales from the passenger decks. We felt that it was important to remember this connection to the sea and the Western Isles within the Dancing Wave Mural.

I kind of like the playful porpoise, A healthy mind in a healthy corpus. He and his cousin, the playful dolphin, Why they like swimmin like I like golphin. The Porpoise – by Ogden Nash

Images: ©Healy Arts 2023

3. CONNECTIONS A rt is t: V i k k i L i t t o n

At 109 miles long, spanned by a total of 70 bridges, the River Clyde seems a highly suitable subject for the Dancing Wave, which is so far the longest mural in Glasgow! Vikki Litton’s contribution consists of hand-painted map symbols, recognisable from Ordnance Survey maps, which intend to evoke the winding course of the river as it runs through the countryside of Southern Scotland. With place markers, and small familiar images such as castles and bridges and tunnels, she evokes the route of the Clyde, from its source in the Lowther Hills to the City of Glasgow, the islands of the Firth, and the Kintyre peninsula. Running concurrently with the beautiful artworks created for the project, the symbols bring a unifying coherence by suggesting connections with the historical facts and legends of the river’s journey.

“rivers believe in the sea. they are impatient with bridges, churches, all debris. they have a passion for the ocean.” (G.F. Dutton, ‘back water’)

4 . G A L AT E A

Ar t is t: Frank M cN a b The ‘Tall Ship’ moored at the Riverside Museum, launched in Port Glasgow in 1896, is now known as The Genlee, but it once sailed under the name Galatea, serving for 47 years as a sail training ship in the Spanish navy. In the original tale in Greek mythology, Galatea was the statue carved by the sculptor Pygmalion, a king of Cyprus, who falls in love with the figure when she is brought to life by Aphrodite. “The painting represents the figurehead of the ship coming to life,’ explains the artist Frank McNab, “and bringing the crew home safely, after one of the ropes securing the mainsail has broken in a storm. The model for the original painting was the beautiful Carol Kelly, whose family live near the Clyde in the Yoker district of Glasgow. As in the picture, the Glenlee was safely brought back to the Clyde when it was in danger of being broken up. It is now a wonderful feature of the river and the city. Could it be the magical figurehead that saved it?”

5 . T H E D A N C I N G YA C H T Ar t is t: G erald M a n g a n

A fanciful memorial to the numerous yacht-style fishing boats that used to ply their trade all along the Clyde, before they were excluded from the city by low railway bridges and tidal weirs. The river was rich in trout and salmon, one of the first sources of Glasgow’s prosperity, and Saltmarket got its name from the trade in salt used to cure the fish. By the time the Glasgow Fish Market was opened in 1872, it dealt mostly in salt-water fish caught downriver, but the cargoes could still be offloaded at the quays on Clyde Street, where the sailing ship Carrick was moored until quite recently, and included fresh-water fish from upriver. The nearby Riverside Museum has a wonderful collection of model boats which informed this work.

6. THE BLUE SUBMARINE Artist: Stuart Low

Glasgow’s only blue submarine. The under-water glory, chases the fish away, the bream. When I went out for a , walk I did see The ripples in the water, Not all they did seem. Wasn’t a fish or even a rowing team? Thought they only came up so far. The Clyde, you can walk it or drive under by car. As it seems only one-sided coin is tossed in the air. always played fair. Not a yellow submarine as done by the Mersey as blue as the colour that’s on your new jersey. Look for this tiny artwork with a secret poem, found via QR code. This artwork considers the nuclear submarines hidden in our waters.

7 . A K I N G O F S T R A T H C LY D E Artist: Chris Watson with AR animation by Amy Bruning

The valley of the River Clyde, which rises close to the English Border, was the core territory of the Kingdom of Strathclyde, whose capital was Alt Clut, ‘the rock of the Clyde’ at Dumbarton. “I painted the head of an ancient king,” says the artist Chris Watson, “one of many with strange names, from the lost history between the Romans and the Vikings, a rich source of stories... The line of the mural dances through the king’s beard, describing patterns inspired by Celtic & Pictish decorative arts, like waves on the water. To decorate his metal headgear, I looked at the Govan Stone carvings of Viking longhouses, with patterns of roof tiles, or dragon scales, and a playful knotted pattern that transforms as the carver worked over time. Inventing patterns is like making up rhymes, improvising music, or thinking with a chisel…Who is this figure? Well, he might be a king, a father, a giant, a River Spirit, a warrior, a boat-builder, a fisherman, or a bard...” His flowing beard reminded Siobhan of her late father Daniel Healy (1945-2023),a well-known Glasgow character who was once portrayed by the writer-artist Alasdair Gray as Rex Scotorum (King of Scots), with a crown of rusty scrap iron.

To view Animation ‘Daniel King of Scotland’ download EyeJack App and then scan QR code

8 . T H E V I TA L S PA R K Artist: Gerald Mangan

The most famous ‘Clyde puffer’, is a fictional boat devised by author Neil Munro (1863-1930) to celebrate a real fleet of small coal-fired steamships, built mostly on the Forth and Clyde Canal. The puffers once provided transport services to every port between Glasgow and the Outer Hebrides, for coal or furniture or livestock, and one of their advantages was a flat-bottomed hull, which enabled them to run safely aground at low tides, to load or unload in remote places without proper jetties. Munro’s stories first appeared in the Glasgow Evening News, of which he became an editor, and later inspired the Clyde-based Ealing comedy The Maggie (1953). His mischievous and resourceful skipper-hero Para Handy would become a household name through the popular television series The Vital Spark (1965-74), which enjoyed a revival in the 1990s. The real puffer that featured in the latter series, re-registered under that name, is now based at Inveraray.

Are you not weary in your distant places, Far, far from Scotland of the mist and storm, In drowsy airs, the sun-smite on your faces, The days so long and warm? When all around you lie the strange fields sleeping, The dreary woods where no fond memories roam, Do not your sad hearts over seas come leaping To the highlands and the lowlands of your Home? Wild cries the Winter, loud through all our valleys The midnights roar, the grey noons echo back; About the scalloped coasts the eager galleys Beat for kind harbours from horizons black: We tread the miry roads, the rain-drenched heather, We are the men, we battle, we endure! God’s pity for you people in your weather Of swooning winds, calm seas, and skies demure! To Exiles by Neil Munro (1864-1930): Writer of the Vital Spark

9. ST MUNGO’S SALMON

Artist: Gerald Mangan D I A M O N D D U S T D E TA I L S b y S i o b h a n H e a l y One of the legends of Glasgow’s patron saint that feature in the city’s coat-of-arms, along with a bird, a bell and a tree. It is probably the oldest of the four emblems, as it appears alone in the medieval seal of the bishops of Glasgow, and the story was recorded most notably in the hagiography Acta Sanctorum in 1643. It’s the tale of a miracle performed by Mungo as a favour to an unidentified queen, who had given a handsome admirer a ring that had been a gift from the king. When her husband pointedly asked to see the ring, which he had in fact retrieved from her sleeping lover and thrown angrily into the river, the queen found herself dangerously compromised. She appealed in desperation to Mungo, who went fishing and caught a salmon. When the ring was miraculously discovered in its belly and restored to the queen, the king was obliged to withdraw his accusations, and the royal marriage was saved. You will see REAL DIAMOND DUST included in the jewel of the St Mungo ring.

Image: Mike Rolek

1 0 . L I F E B U O Y A N D C LY D E T R O U T Artist: Mike Rolek

Image:Mike Rolek “Fluid, beautiful and long-lived,” says the artist Mike Rolek, “the trout is symbolic of the River Clyde itself, where this native fish has made its home for centuries. Its swift, sinuous movements reflect the flow of the eternal currents, as they swim to the open sea. The lifebuoy is a symbol of the river’s power to save the city and its inhabitants, from ever forgetting their heritage. Glasgow was built on the Clyde, but we have grown too far away from our nautical roots, and the memories of our great shipbuilding past are growing dim.”

“Now Clydeside’s an old postcard. Of pensioners posing for snaps on the Rothesay Ferry … Stout women in herringbone coats buttoned up to their knitted sou’westers, like mermaids in glasses, or barnacled goddesses staring out from the prow into what’s left of the teeth of life’s gale.” (James McGonigal, ‘Headwaters’)

Image: ©Healy Arts 2023

1 1 . T H E WAV E R L E Y

Artist: Gerald Mangan with AR animation by Amy Bruning The oldest seagoing paddle steamer still in service anywhere in the world, the Waverley was actually built on the site of the present Riverside Museum,launched here in 1946. Pointhouse Quay, at the confluence of the Clyde and the Kelvin, was the home of the A.& J. Inglis shipyard, a subsidiary company of Harland & Wolff, which produced everything from steamers and whalers to small warships and built the first diesel-electric paddle-ship Talisman - a name similarly inspired by Sir Walter Scott. The steam-driven Waverley was designed for passenger services around Scotland’s inner sea lochs, to ports of call such as Arrochar and Tighnabruiach, and it became a legend quite early in its lifetime as a popular pleasure boat, providing excursions to all the main ports on the Firth of Clyde and beyond. Its history has not been untroubled, and it has faced the menace of the scrapyard more than once, but it was rescued most memorably by the Paddle Steamer Preservation Society in 1974, leading to a series of major refurbishments that have ensured its survival. It now tours the UK every year, and it has become a familiar sight on the Thames, the Solent, and the Clyde.

To view Waverley augmented reality (AR) download Eyejack app and scan QR code

12. SWANS A-SWIMMING Artist: Gerald Mangan

‘Weegi e Sw a n s ’ A R a n i m a t i o n b y A my B r u n in g To view the ‘Weegie Swans’ animation download EyeJack App and then scan QR code

Swans are only one of several species of wild bird that have become more permanently present on this stretch of the river. They are a graceful feature of the landscape, and they appear to feed on small fish, but a particular pair are regularly nourished by amateur birdwatchers in the Harbour Flats, who think they may be refugees from the boating pond at Victoria Park in Whiteinch. That pond was notoriously annexed by an especially aggressive pair of swans, who forced a dozen others to confine themselves to the much smaller adjacent duckpond, under constant threat of attack. It wouldn’t be surprising if this pair had broken out in search of roomier living-space!

13. SAMMY THE SEAL Artist: Gerald Mangan

Seals are regularly observed by wildlife-watchers in the flats, swimming in the current rather than basking on either bank. It’s not certain that they find food in the water, and no one is sure of their number, but their appearances have been amalgamated into a single popular identity, affectionately known as Sammy. “We don’t know if he’s just one seal, or a whole colony,” says high-flat dweller Melanie. “But we can’t help feeling that Sammy has adopted us.”

14. COMMUNITY BUBBLES Va r i o u s A r t i s t s

Many ‘bubbles’ in the wave feature images taken from workshops hosted at the Annexe Healthy Living Centre. Several images were provided by the art tutor David Chinn, who has sadly passed away since he contributed to the project. Other images came from jewellery workshops hosted by Liela Forrester. Furthermore, more images were from workshops hosted by Healy Arts in 2023 at the Annexe and the Gallery of Modern Art, Glasgow and also at the Clydeside Gardens which included glassblowing; AI and glass engraving workshops. It is important to Healy Arts that we keep educating artists and the public in heritage craft skills and finding ways to keep them relevant in contemporary society.

I think of many things bubbles form all around, colourful ones form of love, and smiles and ideas that bring bright emotions all around. When they pop a rainbow formed in my thoughts, calm relaxed is my mind. Thought Bubbles (edited) Anon

1 5 . T H E S H I P YA R D C R A N E Artist: Gerald Mangan

No tableau of the Clyde would be complete without a crane, to represent the hundreds of winch-cranes and derricks that once flourished like a forest along the banks, from Govan to Greenock. The giant cantilever crane at Finnieston is now the most famous and emblematic, used in its day for loading locomotives for export, but there are three other lesser-known examples of the ‘hammerhead’ crane downriver, at Whiteinch (the Barclay Curle), at Clydebank (the so-called ‘Titan’), and at Greenock (the James Watt Dock Crane). They were all designed and constructed by the company of the same Renfrewshire-born engineer, Sir William Arrol (1839-1913), who built the Tay Bridge (1887), the Forth Bridge (1890), the steel sections of London’s Tower Bridge (1894), and the overhead gantry designed for building the Titanic in Belfast (1908).

“This grey town… Lacquers the sooty sky, where hammers clang On iron hulls, and cranes in harbours creak, Rattle and swing, whole cargoes on their necks, Where men sweat gold that others hoard or spend.” (John Davidson; ‘Ballad in Blank Verse’, Greenock 1904)

16. THE CUTTY SARK Artist: Gerald Mangan

Built downriver at Dumbarton in 1869, the Cutty Sark was a famously fast clipper, named after the beautiful young witch who chases the hero of Robert Burns’s Tam O’Shanter – a character who is still depicted as the ship’s figurehead, holding the detached tail of Tam’s horse. Its first crews were Scottish, but it was designed for the highly competitive tea trade between London and China, and it maintained its reputation for speed when it transferred to the wool trade with Australia in the 1880s – on one occasion outstripping a steamship as it rounded the Cape of Good Hope! Its chequered career included dark episodes of murder, mutiny, and the suicide of a captain, which contributed a lot of colour to the legend. It changed its name more than once, under Portuguese ownership, before being returned to Britain and restored to its original form. Since 1957 it has been proudly on show at Greenwich, where Queen Elizabeth II had the honour of relaunching it twice!

In company with Cutty Sark at sea only once, on Himalaya off Brazil. They sailed into the doldrums. Day after day another sail came into sight, would lose the wind, then idle. Forty-two ships counted from the masthead. Cutty Sark (excerpt) by Kendrick Smithyman

P O E M - E L F L I T O PA R T I C K U L A R

by CHRISTIE WILLIAMSON our Project poet-in-residence inspired by the project

are you dancin? where the earth sprouts walls colour bridges the gaps where site and mind grasp thistles as old as kingdom come are you askin? when you swim with the fishes the flow becomes an Access All Areas founder member of la Sagrada Familia like an old friend who knows exactly when to go precisely nowhere which is where the Vital Spark never puffed off to with funnels smoking for two as unwavering crowds break skylines above the paddles spinning for all the luck the Clyde ever saw ebb out beyond the wild tide of the Kyles aye a’m askin how despite the fact her tail is lost to time and witches the Cutty Sark still rounds the Cape with records bursting out of sails set sweet against a wind you’d never trade for all the tea the China Sea

could brew with you still brushing shoulders with Govan sprung royals and now the flipside grass is mown we need to walk this way together for a day until the time chimes for the open quay to launch another foray further out then a’m dancin

17. DESIGN ‘RISE’

SKETCH

FOR

SCULPTURE

Artist: Andy Scott Andy Scott is the sculptor behind the hugely iconic and ever-popular public monument Kelpies, located near the Falkirk Wheel. This hand-drawn sketch, reproduced on board, is included to remind the Harbour Flats community that they have a genuine early piece by Scott, installed only a few hundred yards away from the mural. He kindly responded to Healy Arts’s request to include a detail of it,and provided this sketch – apparently one of many that reflected the development of his idea, as he planned to express a sense of something “rising up from the past”. The Glasgow Harbour development had been criticised in the media, at the time, for the colossal scale of its architecture, which rivalled the mammoth Meadowside Granary that it replaced. It seems that the developers wanted to humanise the space, somehow, to create a focal point away from the towering facades which block views to the river from the Clyde Expressway. The figure’s wings are based on the shape of ship’s propellors, and the steel plates spiral upwards, to convey energy. Her steel plates represent the heavy industry of the shipyards, but Scott’s intention was to create something light and ethereal, as a counterpoint to the harsh reality of shipyard work. Earlier sketches, more laden with narrative than the Rise figure, had featured shipbuilding and engineering themes, and other elements based on the old livestock buildings which once stood here. When these were not selected by the client, the design was whittled down to what we see now, a simpler and bolder figurative sculpture. “One aspiration,” says Scott, ‘was to create something just tall enough to be seen from the Expressway, hence her 6-metre height. I kind of wish there had been more funds and I could have made her a bit bigger. As with many public sculptures, my aspirations were somewhat tempered by financial reality! The sculpture was built in Maryhill in two sections, top and bottom, connected at the waist. First, a steel bar frame was welded together and then that was clad with the steel plates that make up her form. I work free-hand, with no technical drawings, and she evolved slightly as she took shape - as most of my sculptures do.”. This link with the historic shipbuilding heritage of the Clyde River and the use of modern metal welding techniques used in the making of contemporary sculpture such as the ‘Rise’ sculpture is another theme of Healy Arts project research.

CONCLUSION In the heart of our local community, a vibrant art project has blossomed, weaving a tapestry of creativity and unity among residents. This community art initiative emerged as a collective endeavour, inviting people from all walks of life to participate, collaborate, and express themselves through various artistic mediums. From colourful murals adorning the walls to interactive Augmented Reality (AR), the project has transformed the urban landscape into an open-air gallery, captivating the senses and sparking conversations. !8 new works of art and poetry have been produced during this project. The benefits bestowed upon our local area are immeasurable. Firstly, this project has fostered a profound sense of belonging and pride among community members. Individuals, previously strangers, now share a common bond, forged through the shared experience of creation. Moreover, it has provided a platform for budding artists to showcase their talents, empowering them to pursue their passion and contribute meaningfully to society. Economically, the community art project has invigorated local businesses. The influx of visitors, drawn by the allure of artistic expression, has boosted tourism and commerce. Cafés bustle with patrons discussing the latest installations, and nearby shops find new customers in art enthusiasts exploring the area. This economic revitalisation has a cascading effect, generating revenue that can be reinvested in the community. Socially, the art project has bridged generational and cultural gaps. It serves as a catalyst for intergenerational dialogue, as grandparents share stories with young children inspired by the art surrounding them. Additionally, it has become a melting pot of cultures, celebrating the rich diversity of our community. This intercultural exchange fosters tolerance, understanding, and acceptance, creating a harmonious atmosphere where everyone feels valued. Lastly, the project has instilled a sense of environmental stewardship. Through eco-friendly installations and the promotion of sustainable practices, the community art project serves as a reminder of our responsibility to preserve the environment. Workshops and educational events inspire residents to adopt eco-conscious habits, nurturing a greener, cleaner local area for generations to come. In essence, this community art project is a testament to the transformative power of art. It has woven the fabric of our community tighter, enhancing our quality of life, stimulating economic growth, fostering social cohesion, and promoting environmental consciousness. Its impact echoes through the laughter of children, the conversations of neighbours, and the vibrant pulse of our local area.

An exhbition of the outcomes of the Dancing Wave Mural with be showcased at the Gallery of Modern Art in Glasgow 19th January- 21st April 2024.

ACKNOWLEDGEMENTS Healy Arts Charity, established by Siobhan Healy, is indebted to its Trustee Board - Angela Hutchison, Zoe Gadsby, Jane Millar, Lisa Nhkrumah, Constantine Zeus and Lisa Hart – who have served since its inception in 2021. We would like to thank all the participants of the art workshops in the surrounding area who contributed towards the final work. You are too many to mention, but please consider yourselves acknowledged here. We must also thank all the artists who took the time to apply for the artist positions, and we hope we will be able to work with you on future projects. Special thanks are due to Julie Chapman, for support and guidance during the inception of the project; and to our Govanhill-born lead artist Gerald Mangan, who is also a poet and journalist and cartoonist - a fast worker, who would pop a new boat up on the mural if we looked away for a moment! Funders and Supporters: Glasgow River Activation Programme; Glasgow City Council; Scottish Government; Glasgow University and Glasgow Museums.

“The mural is an awe-inspiring piece of community art that will be an invaluable asset to the local area for years to come. I am delighted that this project provides an opportunity for local artists and talent to shine, and I am pleased that Glasgow’s vibrant art scene will benefit from the addition of these skilled artists. I wish the launch of this project every success and I am fully committed to supporting it for years to come.” Eunis Jassemi Councillor for Victoria Park Ward Scottish Labour and Co-operative Party

“This piece is a beautiful reminder of what opportunities the River Clyde has offered us in the past and helps draw us closer to our river today. It’s part of a bigger story of making the water and the land surrounding the River Clyde accessible and welcoming to enjoy for all of the communities along it.” Councillor Lana Reid-McConnell Ward 12 Victoria Park Scottish Green Party