Charles Simpson | Home & Away

Charles Simpson

home&away

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Charles Simpson

home&away 3–26 February 2022

16 DUNDAS STREET EDINBURGH EH3 6HZ +44 (0) 131 558 1200 mail@scottish-gallery.co.uk scottish-gallery.co.uk

Front cover:

Threatening Sky (detail, cat. 2) oil on canvas • 30 x 40 cm 1

The Summer Isles from Altandhu • pencil on paper 2

Foreword

Charles Simpson is a painter who approaches the landscape with his eyes wide open. The artist has admitted that finding his subject is becoming more difficult as the years pass by, not because of the changing physical nature of the landscape but because as he develops as a painter he has come to view the landscape in a different way. This has its downside. A weeklong painting trip to Skye or Achiltibuie might bear no fruit at all, but on the other hand one afternoon in his back garden might present enough inspiration for a series of major oils. Only through looking, with patience and familiarity, might a moment, however fleeting, materialize as something that he has never seen before. This may be in the shape of a moving cloud as it crosses the Sound of Sleat, or the abstract forms of fields and fences. But more often than not it is the play of light on the landscape which has taken on special significance for Simpson. At the heart of the exhibition is a series of snowy landscapes painted during the heavy winter

of 2020–21. These ambitious winter scenes from around his home in Clovenfords are essays in the interplay between the warm and cool tones, and demonstrate Simpson’s skill and subtlety as a colourist.

In Home & Away, Simpson has curated his exhibition into distinct halves which will be presented as separate groups of work when hung in The Gallery. The subjects are divided between scenes from the northwest of Scotland – the Away section – and the rolling hills of the Scottish Borders, the Home. Included in the exhibition will be a series of watercolours created to illustrate two children’s books. These joyful works on paper have not been exhibited before and for the artist offer a fascinating counterpoint to his work in the landscape. We are once again grateful to Simpson for his insights on the following pages. tommy zyw director, the scottish gallery

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From the garden, Clovenfords • pencil on paper 4

Home & Away

Normally west coast subject matter predominates within my exhibitions, while my local Clovenfords landscapes create an appropriate foil. For my Home paintings I have always preferred winter subjects, particularly when snow is present. The winter of 2020–21 seemed the coldest and harshest for some years, and certainly there was much more snow than had been of late. There were many gloomy, damp days but there were also more falls of light snow which remained on the ground for long periods due to the at times extreme cold. Persistent ice often restricted easy access to certain local walks, while my own ability to go for long walks in the cold or trek through the snow has been hampered the last couple years after a bout of pneumonia. However, I was now seeing my more immediate surroundings afresh, particularly, and conveniently, just at my back door.

Whytbank Farm which sits on the hill behind our cottage, has always been a good subject for me since we moved here in 1990. The farm was sold a few years ago and converted into residential “steading” homes. I loved the old barns on the horizon above us and felt quite peeved when they were knocked down! It took me a few years to want to paint it again.

In November 2020 we had some beautiful late afternoon skies as the sun went down behind Whytbank and this continued throughout that winter. With the more frequent falls of snow, the white landscape was transformed into patterns of light and dark with little colour, but with fascinating and ever-changing warm and cool tones reflected in the snow.

I thought I had nearly finished my series of local paintings, but in mid-February there was even more snow, deeper this time, and more painting subjects manifested. With this now much larger than normal collection of local paintings I decided to split the exhibiton into two distinct sections, Home and Away, and that this should be reflected in the exhibition’s physical hang.

In the early summer of 2020, travel within Scotland had been restricted but I was still able to make trips in August and September to long-familiar and very favourite locations on the west coast. In this exhibition there are Away paintings from Achiltibuie, as well as Mull and Iona. There are also a couple of paintings each from Skye and Camusdarach. charles simpson

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home

Clovenfords, Scottish Borders 7

Clovenfords, Scottish Borders

I left full-time work in Edinburgh near the end of 1989. Mary and I downsized to Clovenfords in the Scottish Borders in March 1991, to try my hand at freelance graphic design work and possibly develop myself as a painter. Here we are still, and for many years to come I hope.

The village has changed since we first came, probably doubling in size. There are more large houses, cars are bigger and there is a new primary school but unfortunately our small village shop has closed. Many of the strong country characters have sadly passed on, while the current villagers themselves perhaps have fewer direct links with the surrounding countryside.

Our cottage is small, the kitchen tiny, but we have extensive outdoor space. I built my studio in the garden some years ago, and I have an additional old wooden garage around the corner where the frames are cut and put together by my long-time assistant Mike. I gild and finish the frames, and assemble the final pictures in my studio.

The cottage is about 200 yards above the village and we are surrounded by fields with open views to the Border hills. The Yair Hill and Three Brethren are in clear sight, a beautiful landscape. To be able to work satisfactorily I find I need physical and metaphorical space around me. Clovenfords

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suits me so well: good countryside, good people and good facilities not far away – such an easy place to live.

Wildlife is usually fairly low-key. There are the usual garden birds and also the opportunist crows, strangely hesitant and wary for all their size and brashness. Sometimes we are lucky to spot a willow warbler, goldcrest or woodpecker. I was stunned to see a jay in the garden over a few days. A sparrowhawk might flash through while the small birds panic.

Kestrels seem less threatening somehow as they hover over the fields. Buzzards reside on the hill across the road and can sometimes be seen soaring high as they make their plaintive cry. A large heron might pass overhead on its slow way to or from the Tweed.

Pheasants are numerous – greedy, messy and stupid but remarkably persistent. Chase them and they will soon be back. During the mating season in April and May cock pheasants strut their stuff around the females gathered in the garden, calling loudly from about five am. Red legged partridges, however, are a delight, often in dutiful pairs, but so easily spooked. It is beyond my comprehension how someone can shoot these beautiful small birds for sport.

Spring sees the arrival of curlew, lapwing and oyster catcher, though fewer in number these days. It is a great feeling to spot the arrival of

the first swallow in April, uncannily almost to the same day each year. In 2021 a pair decided to build a nest on the end of my studio.

Swallows often perch on the electricity wire near the back door. It is likely my imagination but they do seem to enjoy chatting to us if we are sitting out just below them. By the end of the summer there can be nearly a hundred sitting on the wires as they gather in preparation for their long journey south.

My favourite sighting is the barn owl seen at certain times of the year in that half-light just before darkness, as it hunts in the adjacent field, sometimes passing only a few yards away from our conservatory. If we are very lucky it might perch on a nearby fence post in plain sight.

Now and then a roe deer will appear in our field, and also the spring hares. Stoats and weasels dart along the back wall just outside our conservatory, completely oblivious to our presence. In all the years we have been here, we had never seen a squirrel of any kind, and then in winter 2020 a red squirrel started to appear regularly and now has its own personal nut feeder tin. We must also always be aware of that other less popular country resident, the rat, an ever-present even when not seen. charles simpson

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1. Roadside Tree oil on canvas • 30 x 60 cm 10

2. Threatening Sky oil on canvas • 30 x 40 cm 11

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3. Chocolate Chips

4. Tarts

oil on canvas • 20 x 20 cm

oil on canvas • 20 x 20 cm

5. Winter Cow

6. Birds on the Wires

oil on canvas • 20 x 20 cm

oil on canvas • 20 x 20 cm 13

7. Tree, the Road to Newhall oil on canvas • 30 x 60 cm 14

8. Snow, Heavy Sky oil on canvas • 50 x 100 cm 15

9. Road & Track oil on canvas • 30 x 60 cm 16

10. Looking over the Valley oil on canvas • 30 x 60 cm 17

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11. Sticky Doughnuts

12. Treats & Stripes

oil on canvas • 20 x 20 cm

oil on canvas • 20 x 20 cm

13. November oil on canvas • 60 x 75 cm 19

14. Yair Hill, Clouds & Rooks oil on canvas • 30 x 60 cm 20

15. Winter Sun oil on canvas • 30 x 40 cm 21

16. Field of Rooks oil on canvas • 60 x 75 cm 22

17. Sun over the Yair Hill oil on canvas • 30 x 30 cm 23

18. Winter Greys oil on canvas • 20 x 50 cm 24

19. Distant Light oil on canvas • 70 x 100 cm 25

20. Day Moon oil on canvas • 30 x 30 cm 26

21. Two Roads oil on canvas • 50 x 100 cm 27

22. Snow & Dogs Walker oil on canvas • 40 x 50 cm 28

23. Road oil on canvas • 30 x 30 cm 29

24. Tracks in the Snow oil on canvas • 70 x 100 cm 30

25. Roadside oil on canvas • 30 x 30 cm 31

26. Lights oil on canvas • 30 x 40 cm 32

27. Winter Hill oil on canvas • 20 x 50 cm 33

28. Road to Clovenfords oil on canvas • 40 x 50 cm 34

29. Winter Coat

30. Winter Tree

31. Self

oil on canvas • 15 x 15 cm

oil on canvas • 15 x 15 cm

oil on canvas • 15 x 15 cm 35

32. A Cloud oil on canvas • 20 x 20 cm 36

away

The Summer Isles 37

Achiltibuie & the Summer Isles; Mull & Iona This was our sixth stay in the Achiltibuie area though the first for over ten years. We stayed in a wooden chalet right on the shore at Altandhu, looking directly on to Isle Ristol, with the jetty at Dornie on the left. To the right lay Eilean Mullagrach and then the open sea with, on a clear day, views to distant Lewis and the hills of Harris.

Achiltibuie is one of a string of small townships on the western coast of the Coigach peninsula, stretching from Reiff in the north to Culnacraig in the south. Off shore are the Summer Isles – Horse Island, Tanera Mor, Tanera Beg, Priest Island and several others. Inland are the majestic mountains of Assynt: Ben Mor Coigach, Cul Beg, Stac Polly, Cul Mor, Suilven, Canisp and Quinag. There is also a beautiful beach at Achnahaird.

Looking out to sea from our chalet, there was little activity apart from the changing weather and light. A small fishing boat might appear, or perhaps a gull or a gannet passing by. There were occasional paddle boarders, kayaks or canoes, all looking very small on the sea.

Groups of shags skimmed purposefully over the water – one morning, over a hundred at least.

Round the cabin stonechats were dashing about, and also goldfinches feeding on the thistles. At eight o’clock one morning we were lucky to observe some dolphins for several minutes half way across to Isle Ristol. Ten minutes later an otter swam by just off the shore before diving 38

down, not to be seen again. Red deer were regular residents up on the hill behind Altandhu.

I often think Achiltibuie seems more like an island, quite different in character from “the mainland”. Having to get there along its winding single track road through rugged Assynt perhaps helps to accentuate this feeling. It is such a peaceful place and nothing much appears to happen, though it does have an excellent community. Day trippers drive slowly up and down its roads, marvelling at the views. The day can be passed very easily doing not very much.

It is certainly one of my personal favourite locations.

Ardtun is an area of small crofting settlements on the Ross of Mull. This was our tenth stay on the Isle of Mull but it was by far the nicest cottage and the best outlook we had experienced. The purpose built house overlooked Traigh Mhor on Loch na Lathaich, only a mile from Bunessan. Its situation allowed easy access to the western beaches of Mull and particularly to Iona. The light and weather conditions changed continuously, and there was also a great variety of bird life to observe. We seemed to spend much of our time simply looking out over the loch, with a pair of binoculars constantly to hand.

Gulls seemed to be omnipresent, sometimes in very large numbers, spending significant amounts of time simply sitting on the shore or

on large rocks, flying about now and again or perhaps pestering a passing heron. Buzzards were seen regularly, often sitting on a rock or fence post for sometimes fairly long periods.

They would fly past our window very low off the ground – quite different behaviour from the buzzards at home in the Borders where they soar and call, high in the sky on fine days.

Without venturing out we could also observe herons, curlew, oyster catchers, geese, swallows, ducks, shags, cormorants and a solitary merganser. A flock of arctic terns appeared one morning. Stonechats often sat on our fence while dashing on to the grass to catch a small insect. On our last day we had a magical view of a hen harrier hunting just yards from the house as it hovered elegantly over the rough grass, suddenly twisting and turning for a lightning strike to the ground.

On Iona as we walked down from the north beach we encountered three tiny black corncrake chicks scurrying across the path and into the adjoining field, where the browsing cattle watched them at their feet in a somewhat perplexed manner.

After a particularly stormy night we were treated to the arrival of a dozen or so gannets fishing out in the bay. Flashes of brilliant white soared above the sea and then would dive almost vertically into the water in spectacular fashion. charles simpson

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33. Mountains of Assynt oil on canvas • 30 x 30 cm 40

34. Overlooking Tanera Mor oil on canvas • 50 x 100 cm 41

35. Islands: Flock of Birds oil on canvas • 40 x 50 cm 42

36. Altandhu Evening oil on canvas • 40 x 50 cm 43

37. Mountains of Wester Ross oil on canvas • 30 x 30 cm 44

38. Horse Island, Gentle Light oil on canvas • 50 x 100 cm 45

39. Footprints, Achnahaird oil on canvas • 20 x 20 cm 46

40. Summer Islands oil on canvas • 30 x 60 cm 47

41. Late Sun oil on canvas • 30 x 40 cm 48

42. Badentarbat Bay oil on canvas • 30 x 40 cm 49

43. Rock, Gulls & Cormorant oil on canvas • 20 x 20 cm 50

44. Iona: Storm Island & Distant Rum oil on canvas • 50 x 100 cm 51

45. Knockvologan, Mull oil on canvas • 80 x 100 cm 52

46. Grey Day, Iona oil on canvas • 30 x 40 cm 53

47. Panorama, Iona oil on canvas • 20 x 50 cm 54

48. Wet Sands, Iona oil on canvas • 40 x 50 cm 55

49. Finding the North End, Iona oil on canvas • 30 x 40 cm 56

50. Calm Sea, Iona oil on canvas • 40 x 50 cm 57

51. Two Figures on the Path oil on canvas • 20 x 20 cm 58

52. Loch Dunvegan, Skye oil on canvas • 80 x 100 cm 59

53. Sea Stream, Camusdarach oil on canvas • 30 x 40 cm 60

54. Looking to Sleat oil on canvas • 30 x 60 cm 61

Ardtun, Isle of Mull • pencil on paper 62

Charles Simpson

Born 1952

2005 — Bourne Fine Art, Edinburgh

1964–70 Educated at Alloa Academy, Alloa

2006 — Panter & Hall, London

1970–75 Studied at Glasgow School of Art

2007 — Bourne Fine Art, Edinburgh

2008 — Panter & Hall, London

Graduated with BA(Hons).

1975– 90 Graphic Designer in Edinburgh

2009 — Bourne Fine Art, Edinburgh

1991

2010 — Bourne Fine Art, Cork Street Gallery,

Moved to the Scottish Borders to work as an artist and freelance designer.

1999

Became full-time artist.

London 2011 — John Davies Gallery, Moreton-in-Marsh 2011 — Bourne Fine Art, Edinburgh

Solo exhibitions

2012 — Panter & Hall, London

1991 — Macaulay Gallery, Stenton

2012 — Six@Sixty, Bourne Fine Art, Edinburgh

1992 — Macaulay Gallery, Stenton

2013 — Walker Gallery, Harrogate

1996 — Open Eye Gallery, Edinburgh

2013 — John Davies Gallery, Moreton-in-Marsh

1998 — Open Eye Gallery, Edinburgh

2013 — Flying Colours Gallery, London

1998 — Ainscough Contemporary Art, London

2014 — Bourne Fine Art, Edinburgh

1999 — Tolquhon Gallery, Ellon, Aberdeenshire

2014 — Panter & Hall, London

2000 — Dundas Street Gallery, Edinburgh

2015 — Flying Colours Gallery, London

2000 — Ainscough Contemporary Art, London

2015 — The Scottish Gallery, Edinburgh

2001 — Dundas Street Gallery, Edinburgh

2016 — John Davies Gallery, Moreton-in-Marsh

2002 — ArtLondon

2017 — Panter & Hall, London

2018 — The Scottish Gallery, Edinburgh

(Ainscough Contemporary Art)

2002 — Dundas Street Gallery, Edinburgh

2018 — John Davies Gallery, Moreton-in-Marsh

2003 — Panter & Hall, London

2019 — Panter & Hall, London

2004 — Dundas Street Gallery, Edinburgh

2019 — Resipole Studios, Argyle

2004 — Panter & Hall, London

2020 — The Scottish Gallery, Edinburgh

2005 — Olympia Antiques Fair, London

2021 — John Davies Gallery, Moreton-in-Marsh

2022 — The Scottish Gallery, Edinburgh

(Panter & Hall)

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Published by The Scottish Gallery to coincide with the exhibition: Charles Simpson: Home & Away 3–26 February 2022 Exhibition can be viewed online at www.scottish-gallery.co.uk/charlessimpson ISBN 978-912900-46-6 Catalogue designed by Charles Simpson Paintings photographed by Gordon Bell Printed by Pureprint All rights reserved. No part of this catalogue may be reproduced in any form by print, photocopy or by any other means, without the permission of the copyright holders and of the publishers.

Inside front cover: Clovenfords • pencil on paper (detail) Inside back cover: Ardtun, Isle of Mull • pencil on paper (detail)

THE

SCOTTISH

GALLERY

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CONTEMPORARY ART SINCE 1842 �6 DUNDAS STREET � EDINBURGH EH3 6HZ 0�3� 558 �200 • mail@scottish-gallery.co.uk � scottish-gallery.co.uk

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