Ross Ryan | The Logbook - A solo winter voyage |May 2018

ROSS RYAN

THE

SCOTTISH

GALLERY

CONTEMPORARY ART SINCE 1842

ROSS RYAN The Logbook — A solo winter voyage 2 / 05 — 2 / 06 / 2018

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

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For Dad; Sgarbh’s Admiral.

29/10/2017

Ross rounding Ardnamurchan point in a blow

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NOTES

SEAMAN’S JOURNAL

Foreword from the Skipper I set sail from Crinan, alone, at the end September 2017 aboard the ‘Sgarbh’. She was my home and studio for the next 60 days.

The idea of an off-season voyage had been long standing. Romantic connotations of nursing the stove as the wind played tunes in the rigging raised no challenge for the escapist. And where? I would of course allow tide and wind to contend for that.

The actual was somewhat less ‘cosy’.

There could have been no more of a wind frayed autumn than the one past. Days were spent holed up in small guts waiting to be allowed to continue north.

Time slowed to half speed and my main comfort was taken from reading novels by explorers in far more harrowing conditions.

Nonetheless paint had to be laid down, and my canvases seemed to behave like un-walked dogs; champing for colour and time. Once a routine had settled aboard it soon became apparent that these were just the conditions I had been looking for.

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SEAMAN’S JOURNAL

N.B. ‘Sgarbh’ is a forty foot 1947 fishing boat. I do charters on her during the fair weather months.

When you read ‘we’, ‘she’ and ‘us’, I am referring to the boat.

Every day I launched a message in a bottle. 6 have been found so far from this voyage.

I started the ‘bottle project’ in 1998 during the first of three transatlantic sails. Other messages have been discovered all over the world. I have even had the good fortune to find some of the recipients. The next series of paintings will be about the ‘bottle project’.

Ross Ryan, March 2018

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NOTES

29/10/2017

Sgarbh looking bonnie, Loch Scavaig 16/10/17

Painting underway, Loch Ness

01/12/2017

Sketching the dolphins, The Minch 01/12/2017

Message in bottle on its way to The Minch!

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7 / 10 / 17

Catalogue Nº 1

MUSSEL FARM, LOCH SPELVE, MULL oil on board 49 x 122 cm

Poor weather did not hamper ‘Sgarbh’’s course as she shouldered angry, cold seas to make Kiera’s 30th; an Oktoberfest on the shores of Loch Spelve.

On approach you could almost smell the leather Lederhosen. Where tons of mussels would have been sorted, beer now chilled on an endless supply of ice. Reels spun late into the night.

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12 / 10 / 17

Catalogue Nº 2

THE FLYING DUTCHMAN ASTERN, FORT AUGUSTUS LOCKS oil and pastel on wood 170 x 92 cm

Shortly after I had descended the stair of huge locks, the ‘Flying Dutchman’ ghosted into view all rig and spars, sending the landscape back 200 years. I joined my friends onboard for the last lock passing with the little whisky I had and a message in a bottle. This was for deployment during their crossing back to Holland. In return I was gifted a fish cook book for the boat’s library.

Back on ‘Sgarbh’, I sounded three long blasts of the horn. She echoed back the sailor’s farewell in a low and lasting tone. A bond forged between vessels. An hour passed before I lost sight of her masts.

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Catalogue Nยบ 3

13 / 10 / 17

LAST LOCK, CALEDONIAN CANAL, FORT AUGUSTUS oil and pastel on canvas 50 x 60 cm

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Catalogue Nº 4

25 / 10 / 17

‘PEEING DOWN’, VIEW OUT OF WHEELHOUSE, SAILEAN MOR, LOCH SUNART pastel and charcoal on paper 30 x 21 cm

I have not been keeping up with the 0700 inshore waters forecast, probably due to these new Egyptian cotton sheets.

Clouds continued to tumble high above the masts, only pausing to jettison their miserable load. 4th day of the gale and showing no sign of letting up.

Flaked more chain — 45 metres — my sleep guarantor. Not even a sheep, bird or seal; totally alone.

Had better get used to it. Stitched broken window strap. Note to self — keep up with maintenance.

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Catalogue Nยบ 5

26 / 10 / 17

SGARBH IN SQUALL oil and charcoal on paper 84 x 119 cm

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26 / 10 / 17

Catalogue Nº 6

ROUNDING ARDNAMURCHAN POINT IN A BLOW oil and charcoal on board 76 x 102 cm

Ardnamurchan — or the “Archie” — is the highland

Not just the light was moving but so was my

sailor’s Cape Horn. Though unlikely to have your

studio … and in every direction. I worked with

fingernails ripped off by an ice-coated, flapping sail

both hands to keep up while remaining intensely

it can still be a hellish headland.

focused on my surroundings and the boat’s course.

My 4 days weather bound in Sailean Mor were

All cylinders fired above and below deck. I lumped

over. If I didn’t round the lighthouse today, another

on the oil with my hands and drew into it with

weather system would have me locked in for

charcoal. Then a fast approaching squall soon had

a further week. ‘Sgarbh’ dug her nose deep into

the boat and work awash. I moved onto my knees

the waves, casting spray right back to the stern.

for balance and wrapped one hand around the

A large swell rolled through with a cross wind

shrouds (wire mast supports). The painting started

and this was to build. Blankets of clouds layered

to roll down the board into small streams of white

up that would have kept even Mr. J. Turner busy.

and grey. To stop it going on the deck I bent the

When parallel to the tall granite lighthouse I altered

board inwards and let it flow onto the pallet like

course to the north, taking the seas on the beam

a melting snowman. The squall passed. I started

and offering an angle that I could now hoist

again. Eventually the Isle of Eigg lay off the port

some sail.

beam. I had been high with it all and then suddenly the energy just sapped out of me. Most of the day

Months of dreamy but slightly practical thoughts had now become actual. Was it possible

had passed without food. I retired to the wheel-

to paint with a sea running, alone and on ‘Sgarbh’?

house and adjusted course for Mallaig, leaving

My heart pumped noticeably as I grabbed a large

a trail of white prints all over the helm and auto

board and jammed it between some tyres and

pilot. Thereafter I proceeded to stuff my face

the mast. The other tyres I used to steady my pallet

with biscuits, washed down with chicken soup.

and a few fat brushes - this was no afternoon for

The first ‘Sgarbh’ weather painting was done

fine sable hair.

and was still aboard.

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26 / 10 / 17

Catalogue Nº 7

VERVINE AND SGARBH, STARRY NIGHT MALLAIG HARBOUR oil and pastel on wood 108 x 122 cm

At one point Mallaig had the largest herring fleet in Scotland and it was of such importance to the economy that they even built a railway. Now those tracks serve the Harry Potter steam train, ‘The Jacobite’. Twice a day 200 fans turn up. You can even buy a wand in the local newsagent. Mallaig has had to adjust with the times.

‘Sgarbh’ was very small in here. Where I had car fenders they had lorry ones. I made fast alongside another fishing boat, a bonnie one called ‘Vervine’. She was being re-engined. Before long, ‘Primi’, the harbour master was down. He is one of 7 brothers, an old Mallaig fishing family that I’ve come to know, from an old Mallaig fishing family. I had many visitors that evening; all fishermen aside from a couple of Hogwarts enthusiasts.

They where curious about the ‘Sgarbh’; her history, how she was still varnished and original after 70 years. There was one by the name of Mr. McLean and at 91 he was as fit as a fiddle. Later I discovered he was legend; a skipper of several boats who fished in all weather. I was told if you saw him heading out you would just have to follow.

That evening I learned more about my boat and the job she was built for than in all the years of sailing her.

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Catalogue Nยบ 8

28 / 10 / 17

BUSY MALLAIG BY NIGHT oil and pastel on canvas 60 x 100 cm

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Catalogue Nº 9

29 / 10 / 17

GAVIN MAXWELL’S HOUSE, ISLE OF SOAY oil and pastel on canvas 76 x 76 cm

If there was a way I could not mention the weather,

There was just 20cm under the keel as

I would find it. However it is all-consuming at this

we crept in. A man on a dingy with a large collie

time of year and it plays a factor in every aspect

watched, no doubt waiting for me to go aground.

of the trip. Even having a cup of tea requires you

Once through, Shark Bay is deep and completely

to still go on bloody deck and turn the gas on.

sheltered. I blethered briefly with the fisherman.

Though today the weather was stunning. I knew

As far as I was aware it was just Olly and his

fine well if I wanted to see Soay and south west

dog on the island. He was off to Skye for stores …

Skye I would have to pack two days into one as

some trek. I had an hour to explore and get out.

all the rest of the week was to be windy again.

Maxwell’s basking shark factory now lies in ruins.

From Mallaig it was 5 hours to Soay, a small

Rusty boilers that would have extracted the pre-

island off the gigantic toothy south end of Skye.

cious oils from the liver lay on their sides. I heard

To get to Gavin Maxwell’s shark factory you enter

the oil was so pure it was used for lubrication

from the north, then cross over a tricky bar

in the space industry. Hard to put a link with Soay

with rocks clustered around. It was possible to

and the shuttle, but there you go. This set-up

calculate when to do this — for ‘Sgarbh’ it was

was quite different from the ‘Ring of Bright Water’

any time after half way up a rising tide.

we know Gavin Maxwell for.

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Catalogue Nº 10

30 / 10 / 17

MOBY POINT, LOCH NEVIS oil and pastel on canvas 122 x 168 cm

Along with the dinosaur footprints, this mythical whale was the backbone to the trip. While in Edinburgh I had heard of a giant motorised whale that had been built to sail the Atlantic, and in it’s bowels rumbled two of the same engines that ‘Sgarbh’ has. Months later when I finally found it on the southern banks of Loch Nevis I was not disappointed. Stranded on the beach, the 65 foot vessel was a curious sight to say the least.

Here was an abstract landscape for real.

Moby’s owner I had just missed in Mallaig.

Tom McLean is ex-SAS and has set some of the toughest records you can imagine — one being the completion of an Atlantic crossing on a boat not much longer than he was tall. For some time now Tom ran the outdoor centre at Moby Point.

Behind the whale were various outhouses and pods. A very large and pristine Union Jack remained flying, which made the place look like a British stronghold on some bleak island thousands of miles from home.

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Catalogue Nยบ 11

2 / 11 / 17

BETSY ON THE DINGHY, EAST TARBERT LOCH NEVIS oil and pastel on wood 25 x 30 cm

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2 / 11 / 17

Catalogue Nº 12

SGURR NA CICHE, HEAD OF LOCH NEVIS pastel and charcoal on paper 30 x 88 cm

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5 / 11 / 17

Catalogue Nº 13, 14, 15

GUY FAWKES, PLOCKTON HARBOUR, I, II, III pastel, oil and gouache on paper 21 x 30 cm

Departed the Isle of Oronsay on Skye, starting with a rolly run over to the mouth of Loch Hourn, wind and sea funnelling down the Sound of Sleat.

Pictures and belongings fought for calm below.

Caught the slack tide at Kyle Rhea only to be followed by hail and a violent down draft putting the boat over on her ear.

Eventually, altering course to starboard we steamed to the more sheltered black waters right under Castle Eilean Donan, the Highland’s Taj Mahal. I surveyed for a place to drop the anchor in anticipation of returning tomorrow night to paint. To the north-west the tide pulled strong towards a low road-bridge. No good, though a shallow spot due south of the Castle offered potential.

I chased the light back west and under the Skye Bridge, observing a truck passing over and now in miniature form. Eventually I arrived in darkness at Plockton, some 15 years since my last visit. Large flames from a bonfire licked the night sky, cementing the village’s reputation as home of the Wickerman. Once ashore I marvelled with the locals at a fine display of fireworks followed by a drink in the Plockton Hotel. A waxing moon illuminated the water for my run home.

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Catalogue Nยบ 16

6 / 11 / 17

MOONRISE, LOCH DUICH oil and charcoal on paper 37 x 34 cm

I plotted the best course possible through the fishing buoys and narrows as the return trip would be in darkness with a fast tide pushing under the keel. Painting in the dark was a hangover from Germany. I found the grey and mechanical life of Bremen depressing so day was swapped for night, emitting the dreary details. However, out-with the city you need a moon to make this work, and tonight it shone bright. The somewhat practical side of boating would have to find harmony with structureless passion and wet paint.

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7 / 11 / 17

Catalogue Nº 17

DINOSAUR FOOTPRINTS, STAFFIN, SKYE oil and pastel on wood 31 x 44 cm

During a summer charter an American couple enlightened me that Skye was quite literarally a Jurassic stomping ground. Lacking tsunamis and earth quakes, this was a new and exotic attribute to Scotland. Quite honestly, that and the KLF’s million pound camp fire were responsible for this ridiculous winter voyage.

After a half hour of looking amongst the flat rocks, I was convinced my hand now lay in a threetoed Dinosaur footprint, about the size of a dustbin lid. Torrential rain drove me to shelter between two large boulders where I tore apart a soaking wet chicken sandwich. The arrival of man came in the form of a Rabbie’s tour bus, busily ticking off Scotland in a day. I quickly emerged from my shelter and stood re-examining the fossil, placing myself carefully where one of the Koreans may require my knowledge. Instead the kind, weary bus driver pointed out many more prints.

He told me these foot prints where left by a man-sized meat eating chicken and they had been discovered by a group of children 10 years back after a storm had cleared the beach. Their parents did not buy into the story and it was not until a couple of years later that the sightings finally made it back to a geologist to confirm authenticity.

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Catalogue Nยบ 18

7 / 11 / 17

SKYE ROAD TO CUILLINS pastel and charcoal on paper 30 x 42 cm

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Catalogue Nº 19

14 / 11 / 17

SGARBH ROUNDING CANNA oil and pastel on wood 34 x 47 cm

At 5am Mallaig Harbour had already come to life.

a garage; knowing it could have been curtains for

Boats loaded with ice then slipped into the dark-

someone. Canna was like Lilliput against her larger

ness. Tonight I would be in Barra, the holy grail as

sister. A small chapel sat silhouetted on a long

far as I was concerned.

narrow point helping this to be one of the best

A flask of tea, biscuits and nuts were stowed

natural harbours. The island now struggles to grow

in the wheelhouse in case it was too wild to go

its community, not uncommon in these waters.

below on the run across the Minch. Day broke as

Hong Kong island is about the same size as Rum

I passed Sleat Point on Skye with Rum appearing

and has 8 million inhabitants. Rum has 40. Taking

like a giant sleeping walrus. I hugged her barren

the north passage round Canna paid off, putting

coast taking advantage of the shelter. Large cliffs

the seas dead on the bow all the way to Barra.

rose abruptly from the deep. At the base of one

‘Sgarbh’ chugged into North Bay shortly before

a massive mangled trawler lay. It was still possible

darkness. A fishing boat drew alongside, it was

to see she would have been brightly painted red,

Donald. His crewman jumped aboard and hauled

white and blue in better days. A broken boat is

up the massive mooring strop. This was to be my

a sad sight at sea, bringing the same lump to the

home for the next few weeks.

stomach when you walk past a wrecked car in

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Catalogue Nยบ 20

14 / 11 / 17

BARRA LOOMS OUT OF THE MINCH, ON PASSAGE TO BARRA oil and charcoal on board 138 x 244 cm

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19 / 11 / 17

Catalogue Nº 21

SGARBH FROM CASTLEBAY BAR, BARRA oil and pastel on canvas 122 x 168 cm

I was joined by a few friends aboard for refreshments.

A Clyde yachtsman came alongside the pier in Loch Boisdale harbour, South Uist, shouting up to a man on the pier, ‘Where’s the local boozer mate!?’

‘Aye, your’e speaking to him,’ came the reply.

A local visited the doctor for a check-up and proceeded to make his way through the questions.

When it came to how many units he drank a week, he asked the doctor; ‘Well how many bottles are in a unit?’

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Catalogue Nยบ 22

19 / 11 / 17

GRIMSEY FISHING FLEET, NORTH UIST oil and pastel on paper 56 x 60 cm

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Catalogue Nยบ 23

23 / 11 / 17

GALE, SEAL BAY, BARRA oil and pastel on board 112 x 190 cm

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24 / 11 / 17

Catalogue Nº 24

SGEIR LIATH, BARRA oil and charcoal on paper 84 x 119 cm

I dived out of the bunk, into my clothes, and

trip between Malta and Majorca. We got caught

scuttled up the ladder to turn the gas on. The cabin

in a cyclone, and along with very severe lightening

was absolutely freezing this morning. I had fallen

it did its best to finish us off.

asleep reading about a Welsh sailor who had

The day was spent drawing at Cleat beach.

to pop his own eye back into its socket after

Stunning, like so many on the island. White strands

the boom crashed down on his head somewhere

but yet different … In the far corner at low tide

north of St Kilda. So I guess there was little to

you can access the cave made legendary by the

complain about.

movie ‘Whisky Galore’. Hundreds of cases of

At some point during the night there was a

whisky where hidden there from Customs and

huge clap of thunder, shaking the boat. I was not

Excise. I was very excited by this pilgrimage

good with electrical storms after a hellish sailing

and I spent quite some time at the back of the cave drawing and looking out to sea.

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Catalogue Nยบ 25

24 / 11 / 17

LUNCH IN THE WHISKY GALORE CAVE, CLEAT BEACH charcoal and oil on paper 42 x 30 cm

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25 / 11 / 17

Catalogue Nº 26

AIRD GRINN, BARRA pastel and charcoal on paper 30 x 42 cm

Aird Grinn is the most westerly part of the island. The land is almost all smooth rock, as though the soil has been rolled up and stored safely for the winter.

Today rain cascaded down, joining forces with sheets of seawater from the cliff. In Barra they would call this a poor day. It was awful and hellish windy.

My sketch pad was papier mâché but somehow when dried out this wee picture survived.

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Catalogue Nº 27

25 / 11 / 17

LOOKING NORTH TO AIRD GRINN, BARRA pastel and charcoal on paper 30 x 42 cm

There has been a build up of ‘messages in bottles’

better with routine. Without it, days merged into

as I have been unable to get out of North Bay.

a mass of hours that were only separated by light

If I had chucked them in there it would have most

and dark. The same applied on land and is probably

likely been myself finding them.

the main factor as to why I work in series. Art

Today I deposited 8 bottles a few miles east of Barra; they bobbed around in the wake like small

requires discipline, or perhaps I require discipline.

So far 4 bottles have been found from this trip

depth charges. Writing them up and preparing the

alone. One even managed to lock itself into the

bottles has been a daily routine along with a small

Caledonian canal.

etching plate. From other trips, I found when being alone for extended periods that I would operate

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For 20 years I have been sending them now.

My Sistine Chapel.

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25 / 11 / 17

Catalogue Nº 28

LOOKING SOUTH TO CLEAT BEACH,

BARRA pastel and charcoal on paper 30 x 42 cm

A dry deck and a final easing of the wind had

the large white bag opened against the pristine

us steaming out of the bay after a week on the

green water like a giant jellyfish. Over to the west

mooring. On deck I had flaked out the home-made

the Barra Lifeboat was out on exercise, making

sea anchor, consisting of a very large builder’s

light work of the seas. I hoped I would go unno-

bag, plenty of rope and a ballasting chain. In theory

ticed but ‘Sgarbh’ was having none of that as she

the builders bag would open up like a parachute,

seemingly took pleasure in dipping her gunnels

creating drag like a cupped hand in a stream.

like a giant pendulum, almost shouting ‘over here!’

This would pull her bow into the wind, thus allowing

The sea anchor did not perform as expected,

painting in poor conditions. Or for all other yachts

perhaps due to the tide heading the same direction

a means of riding out bad weather.

of a dropping wind. The lifeboat drew closer for a

The week of gales has left a residual swell of

look. I waved hoping that the simple gesture would

2 metres and about 15 knots of wind. I presumed

have words to the effect of ‘everything’s ok lads,

this would be about right for a first test of the

I’m just a loopy artist!’ Seeing nothing alarming

new equipment. From the bow I played out the

she bared away for Castlebay. The good people

sea anchor, I hung on and watched excitedly as

of Barra.

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27 / 11 / 17

Catalogue Nº 29

SEAL BAY, ISLE OF BARRA oil and charcoal on paper 84 x 119 cm

The dry sand further up the beach blasted my

Pablo was there. He had been driven in by an

face as black squalls marched in from the west

86 page questionnaire for residency. Like Calpol

with unnerving force. I raced to get my marks

to a baby the whisky slowly anaesthetised me

down. Today I cannot think of a colour that was

from the feet up as I listened contently. When

left out of the spectrum. The hike back from Seal

my tide app reached 1.8 metres the dinghy would

Bay takes you right across the north end of the

be dried out at the pier. All this could now be

island. This carry-on had developed a thirst, so

planned from a bar stool. Navionics the company

there was no hesitation when asked if I fancied

responsible for this hi-tech would probably have

heading up to the Heathy.

saved Lord Nelson a leg and an eye. However there was no margin for ‘one last dram’ so it was useless in Barra. First night on dry land for weeks.

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Catalogue Nº 30

1 / 12 / 17

TOBERMORY TWILIGHT oil and pastel on canvas 122 x 168 cm

In the darkness the bow gently nodded as she picked up the swell, leaving Barra in her wake.

Cocooned in a survival suit and clinging onto my tea I wedged myself between the anchor winch and the forward hatch, leaving the autopilot to get on with it. Today’s matinée was ‘Dawn’.

Dolphins followed up with an outstanding performance, cruising in company all the way to Isle of Coll. Not so unlike Lassie they eventually moved on, but only after leaving my world in a temporary state of perfection.

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4 / 2 / 18

Catalogue Nยบ 31

LOOKING NORTH TO PORT BANN, IONA pastel on wood 60 x 115 cm

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Catalogue Nยบ 32

4 / 2 / 18

IONA TO STAFFA oil and pastel on wood 60 x 60 cm

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Catalogue Nยบ 33

19 / 10 / 17

PAINTING CASTLE STALKER etching 43 x 37 cm edition of 3

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27 / 11 / 17

Catalogue Nยบ 34

ALWAYS WINDY! etching 43 x 37 cm edition of 3

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Catalogue Nยบ 35

8 / 11 / 17

LIFE BELOW DECK etching 43 x 37 cm edition of 3

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4 / 12 / 17

Catalogue Nยบ 36

SUPER MOON etching 43 x 37 cm edition of 3

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Catalogue Nº 37

WINTER 2017

SEVERE STORM AT THE REYNIERS’, ISLAY oil on board 115 x 195 cm

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Catalogue Nยบ 38

PORT CHARLOTTE, ISLAY oil on canvas 146 x 192 cm

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Catalogue Nยบ 39

SUMMER 2016

NORTH SHORE, IONA oil on canvas 154 x 183 cm

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Catalogue Nยบ 40

WINTER 2016

THE WATCHIE, CATTERLINE oil and pencil on paper 56 x 60 cm

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Catalogue Nยบ 41

WINTER 2017

SOUTHWARD, CATTERLINE oil and charcoal on paper 52 x 56 cm

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Catalogue Nยบ 42

WINTER 2017

JANUARY SUNSET, CATTERLINE oil on canvas 56 x 60 cm

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Catalogue Nยบ 43

WINTER 2017

CATTERLINE HARBOUR oil on canvas 100 x 160cm

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Catalogue Nยบ 44

WINTER 2017

CATTERLINE oil on board 72 x 114 cm

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Catalogue Nยบ 45

WINTER 2017

FULL MOON STUDY DUNNOTTAR CASTLE, STONEHAVEN oil on paper 45 x 45 cm

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ROSS RYAN EDUCATION

SELECTED GROUP EXHIBITIONS

1993–1997 Gray’s School of Art, Aberdeen, Scotland, BA Hons Fine Art

2015 Gallerie Biesenbach, Cologne, Germany

Atom Gallery, London 2014 “14” Bermondsey, London

Lawrence Alkin Gallery, London

White Cube, London

2013 RAR Gallery, Berlin, Germany

SELECTED SOLO EXHIBITIONS 2018 The Scottish Gallery, Edinburgh 2013 The Scottish Gallery, Edinburgh

Nelimarkka Museum, Alajarvi, Finland

2012 Kupferdiebe Gallery, Hamburg, Germany

2012 Goldberg, Berlin, Germany

Bunker, Bremen, Germany

2011 Santa Cruz, Galapagos, Ecuador

2010 Gallery Herald, Bremen, Germany

2009 The Scottish Arts Club, Edinburgh, Scotland 2004, 2005, 2007, 2009 R.G.I. Kelly Gallery, Glasgow

2011 Goldberg, Berlin, Germany

2004–2009 Lime Gallery, Glasgow

2001 Sotheby’s Auction House, Tel Aviv, Israel

The Elisabeth Foundation For Arts, New York, United States The Lighthouse, Glasgow

The Roger Billcliffe Gallery, Glasgow

1997 Philips Auction House, Edinburgh 1996 Scottish Arts Club, Edinburgh

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NOTES

BIOGRAPHY PRIZES AND AWARDS

RESIDENCIES

2014 Bet Low Trust, travel bursary, bottle finders, Caribbean

2013 Bet Low Trust, travel bursary, Arctic

2007 The Conrad Award, Royal Society of Marine Artists, The Mall Galleries London

2002 Latimer Award, Royal Scottish Academy of Arts, Edinburgh

David Cargill Award, Royal Glasgow Institute of Fine Arts. Annual Show, Glasgow

2001 Sotheby’s Young Art International 2001, Sotheby’s New York and Tel Aviv

James Torrance Memorial Award, Royal Glasgow Institute of Fine Arts, Annual Show, Glasgow

2012–2014 Auschwitz Museum, Poland

2013 Alajarvi, Finland

2011 “The Galapagos Scholarship”, Galapagos, Ecuador

1997 St. Fittick Prize for Printmaking, Gray’s School of Art, Aberdeen

PUBLIC PRINTMAKERS WORKSHOPS 2012 Bethabien, Berlin, Germany

2003, 2004, 2008, 2009 Bilbo Arte, Bilbao, Spain

2004–2005 Oslo Printmakers, Norway

1996–1997 Peacocks Printmakers, Aberdeen

SELECTED COLLECTIONS Grampian Health Art Trust, Scotland Paintings In Hospitals, Scotland

NOTES

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Published by The Scottish Gallery to coincide with the exhibition:

ROSS RYAN The Logbook — A solo winter voyage 2 / 05 — 2 / 06 / 2018

ARTIST ACKNOWLEDGEMENTS A big thank you to everyone at The Scottish Gallery for all their hard work and support. My thanks also to: The boys who helped me rebuild the Sgarbh; Jann, Alan, Ruaridh, Huw and Nick. Friends on Barra and Iona for their kindness; Donald, Jenny, Ruaridh and the Gordon Family. The good people of East Tarbert and Mallaig.

Roger and Anette for their never wavering support.

Brien and Brown Framing and John for the photos.

My friends and collectors for helping make it possible to continue what I do. Also the many others during this voyage that showed the West Coast still has time and warmth for a stranger.

CREDITS ISBN: 978 1 910267 78 3 Designer: www.sigridschmeisser.com Photography: John McKenzie Printer: J Thomson 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.

THE

SCOTTISH

GALLERY

84

CONTEMPORARY ART SINCE 1842 16 DUNDAS STREET • EDINBURGH EH3 6HZ +44 (0) 131 558 1200 • mail@scottish-gallery.co.uk • scottish-gallery.co.uk

LOG NARRATIVE

THE

SCOTTISH

GALLERY

CONTEMPORARY ART SINCE 1842