Exhibiting Artists: Michael Stumpf

Waterdrop on hot stonetakes its title from a poem written by Bertold Brecht in 1931 Ballade vom Tropfen auf den Heißen Stein. As this sculpture’s title, it initially sounds like a poetic mediation on the impact of materials upon one another yet it also relates specifically to the dystopian reality of Brecht’s text. The waterdrop represents actions taken to resolve a problem, while the hot stone represents the magnitude of the problem. Thoughts and questions emanating from this idea are folded into Michael Stumpf’s work for Practicing Landscape: Land, Histories and Transformation. Rather than being immobilized by the notion of the hot stone, this sculpture explores how material collaborations can contribute to contemporary poetic thought about our relationship to landscape. Examples of successful collaborations taking part in the natural world (such as the combining of fungi and algae to form lichen) invite us to speculate on human and material interaction.

Installation view: Michael Stumpf, Michail Mersinis, Shauna McMullan and Frances Roberston. Photo: Jack McCombe

TOP IMAGE: Michael Stumpf ‘Water drop on hot stone’, 2019, (detail). Photo: Jack McCombe

Exhibiting Artists: Marianne Greated

Marianne Greated
‘Solar Drifters’, 2019; Acrylic and gesso on board
Photo: Jack McCombe

Through her painting practice Marianne Greated explores how sustainability manifests within the landscape. Her work addresses landscape painting, constructing uncertain narratives around human intervention into the landscape. The paintings in Practicing Landscape: Land, Histories and Transformation focus on renewable power structures, displacing the notion of the site and redressing histories of landscape painting. Greated’s research includes field trips, such as a site visit to Southern India from which these paintings stem, and ongoing explorations of the Highlands and Islands of Scotland. The visual representations of the environment are informed by the complexities of sustainability, public and political influence and how the landscape is forged by industry and power. The paintings seek to challenge our perception of landscape and the role landscape painting has in representing our environment.

TOP IMAGE: Marianne Greated installing ‘Pertaining to the Sun’, 2020; Acrylic and gesso on board. Photo: Nicky Bird

Practicing Landscape: Land, Histories and Transformation

25 Jan 2020 – 22 Mar 2020
Gallery 1, The Lighthouse, 11 Mitchell Lane, Glasgow, Scotland

Artists include Nicky Bird, Susan Brind, Justin Carter, Alan Currall, Marianne Greated, Christina McBride, Shauna McMullan, Michail Mersinis, Lesley Punton, Frances Robertson, Ross Sinclair, Michael Stumpf, Amanda Thomson, Gina Wall and Hugh Watt.

This exhibition brought together the work of sixteen The Glasgow School of Art researchers, who are part of a research group called ‘Reading Landscape’.

Collaboration is a vital part of the Reading Landscape Group Ethos. This show included collaborative works: Nicky Bird with Alice Andrews; Sue Brind with Jim Harold; Alex Hale, Historic Environment Scotland; Creative Centre for Fluid Territories members and Rachael Flynn.

Practicing Landscape: Land, Histories and Transformation
Practicing Landscape: Land, Histories and Transformation:
The flickr portfolio, March 2020

Exhibition Review, The Scotsman, 4 March 2020

TOP IMAGE: Alan Currall, ‘Four Pools, Wanlock Dod,’  2019

Exhibiting Artists: Justin Carter

Practicing Landscape: Land, Histories and Transformation features Blood from Stone, a body of work produced by Justin Carter during a residency in Fineshade Wood, Northamptonshire. The work is inspired by the regional relationship between Oak and Ore. During an intensive research period the site was identified as an area of ancient industry – iron smelters having been fuelled by the abundance of wood fuel from Rockingham Forest.

Transforming this relationship into the visual, Carter combined oak galls and tree bark with rust removed from dragline buckets used in local quarries. The resulting ink was used to create prints suggesting life forms or taxonomic specimens.

TOP IMAGE: Justin Carter, ‘Blood from Stone – Impressions of Life’, 2018 (Detail); Oak gall ink on paper. Photo: Jack McCombe

Practicing Landscape 2: Loch Ossian, March 2018

This practice-led, action-research project was a continuation of Reading Landscape’s first “practicing landscape” trip which took the group to the Cairngorms, Aberdeen, Helmsdale and Orkney in 2015.

Organised and facilitated by artist Lesley Punton, this enabled the group to further engage with planning and developing the group’s aims; to further conversation and dialogue around future projects; and to provide a supportive peer network to discuss research areas of interest.

The fieldwork methodology incorporated production of visual materials/new work, photography, documentation and further work on conference and exhibition planning. Related to the Research Group’s pre-set key themes, members continued the conversation informally addressing research questions:

Q1: How do contemporary art practices engage with (and expand) the theme of Landscape and embodiment? 

Loch Ossian, 12.47pm, 18 March 2018
Nicky Bird

Q2: How can such practices work within the contested terms ‘identity and remoteness’ in relation to specific locations?

Loch Ossian, 12.17pm, 20 March 2018
Nicky Bird

Q3: What is the role of contemporary art in relation to Ecology and sustainability within the Northern Hemisphere?

Untitled, Loch Ossian, March 2018
Lesley Punton

Q4: Which practical and creative frameworks are needed to develop and sustain interdisciplinary relationships between artists and other experts?

Untitled, Loch Ossian, March 2018
Lesley Punton

Q5: What cross-disciplinary practice-led methodologies might emerge in response to Landscape and physical layering of history?

18.30pm, 19 March 2018
Nicky Bird

The project’s Primary Objectives on the field trip to Loch Ossian were to:

1) Develop and plan the strategy for future exhibition and conference (original date March 2019) 

2) Generate material for further research outputs (where relevant)

Lesley Punton in action, Loch Ossian, 09.17am, 20 March 2018
Nicky Bird

3) Continue to provide a supportive peer network to share and discuss landscape based practices

TOP IMAGE: Untitled, Loch Ossian, March 2018, Nicky Bird

Practicing Landscape: A Research Journey, 2015


Practising Landscape was a practice-led, action-research project undertaken by 10 members of the Reading Landscape Research Group, 1-7 November 2015.

Beginning in Glasgow, the journey passed through the Cairngorms, to Abderdeen, Helmsdale and on to Orkney. The choice of route being, firstly, determined through an extensive mapping exercise based on the Reading Landscape research group members sharing knowledge and divergent research-practice interests in specific sites; and, secondly, for its productive connections to an extended network of artists, anthropologists, curators working cross disciplines within specific locations en route.

57.1836° N, 3.6711° W

Practicing Landscape Research Journey Day 2: Monday 2 November, 2015
A guided walk with artist Lesley Punton, Ryvoan Pass. 

Accompanied by The Living Mountain by Nan Shepherd and Landscape or Weather-World? by Tim Ingold.
Voices: Lesley Punton, Sue Brind and Justin Carter. 

The project’s methodology incorporated subject specialist-led seminars with external collaborators, discursive workshops, site visits, production of visual materials, photography, documentation and reflexive curation. Related to the Research Group’s pre-set key themes, GSA project participants led individual seminars and dialogues, according to their own areas of research expertise at various stages of the journey (although all were active participants at all times), addressing the following questions:

-How do contemporary art practices engage with (and expand) the theme of Landscape and embodiment? 

57.1544° N, 2.0783° W

Practicing Landscape Research Journey Day 3: Tuesday 3 November, 2015
Landscape or Weather-World?

On location seminar with Professor Tim Infold, Chair of Social Anthropology, University of Aberdeen.

-How can such practices work within the contested terms ‘identity and remoteness’ in relation to specific locations?

58.1173° N, 3.6535° W

Practicing Landscape Research Journey Day 4: Wednesday 4 November, 2015
Questions of ‘Northness’

Subtitles created from a conversation between Practising Landscape Artists
with Timespan’s Curator Frances Davis and Archive Development Manager Jo Clements.

-What is the role of contemporary art in relation to Ecology and sustainability within the Northern Hemisphere?
-Which practical and creative frameworks are needed to develop and sustain interdisciplinary relationships between artists and other experts?

-How can a Reflexive curatorial process facilitate and help disseminate a mapping of the research journey?

58.9629° N, 3.2983° W

Practicing Landscape Research Journey Day 5: Thursday 5 November, 2015

Andrew Parkinson, Curator of Pier Arts Centre in Stromness, Orkney, discusses the significance of surrounding location, history of the building – the backdrop for its important art collection.

-What cross-disciplinary practice-led methodologies might emerge in response to Landscape and physical layering of history?

59.0015° N, 3.2298° W

Practicing Landscape Research Journey, Day 6: Friday 6 November 2015.

Seminar with Professor Jane Downes, Archaeologist, and Anne Bevan, Artist,
University of the Highlands and Islands at the Ring of Brodgar, Orkney.

A remembered account, written later the same day.

TOP IMAGE: Sue Brind, 2015

A Discursive Reading List, 2014


NB: Nicky Bird, SB: Susan Brind, JB: Jenny Brownrigg, JC: Justin Carter, AG: Alan Grieve , DH: Duncan Higgins, JH: Jim Harold, LP: Lesley Punton, SM: Shauna McMullan, MM: Michael Mersinis, AT: Amanda Thomson

Of Walking In Ice, Werner Herzog (1974). A diary account of a winter walk Herzog took from Munich to Paris, on hearing his friend was dying. He believed the adversity he would face on walking to her would keep her alive. (JB)

The Faraway Nearby, Rebecca Solnit (2013). The title comes from a phrase Georgia O’Keefe would sign off with on her personal correspondence, when she moved to the desert. This book traces the journey of the accumulation of memories versus memory loss, tracing journey’s Solnit makes during a period when. her mother slowly succumbs to Alzheimers. (JB).

A field guide to getting lost, (2006) and Wanderlust: A History of Walking (2014), Rebecca Solnit, are both beautifully written, thoughtful  and insightful. Another superb book is Savage Dreams: A Journey into the Landscape Wars of the American West, where the first part of the book describes the origins of Yosemite National Park, and the National Parks system of the US, and the second part considers the nuclear testing that took place in the Nevada Test Site. Really interesting explorations of  ideas of (what constitutes) ‘emptiness’, ‘wilderness’ and the complex ideas about rights, assumptions, complexities about who owns the land, and the tensions that these differing assumptions/ assertions bring. (AT)

The Unofficial Countryside, Richard Mabey (1973) introduced by Ian Sinclair in a great new edition by Little Toller Books. It’s a book about a relationship between person and place(s). It’s a focus on the overlooked and comes from a hugely influential writer who wrote this classic in 1973, the year of my birth. (JC)

The Wild Places, Robert MacFarlane, Granta, (2007). This book is a fragmented journey through specific places in Britain’s landscape, weaving detailed observation of nature, geology, history and memory together in a poetic way.  (I can recommend reading Chapter 2, ‘Island’ at dusk.) SB

Mountains of the Mind, Robert MacFarlane (2003). This is the first book I read about mountains and mountain climbing that dealt with why we climb and crave the experience of mountain landscape rather than the “boys own” quality of some mountaineering books which are focussed on the summit/endurance. (LP)

Patterned Ground: Entanglements of Nature and Culture, Stephan Harrison, Steve Pile & Nigel Thrift (eds),  Reaktion Books, (2004). A great reader comprising short essays that cover subjects as diverse as caves, deserts, waves, battlefields, airports, pigs and God. Great to dip into. (SB recommended by Dr Nina Morris)

The Living Mountain, Nan Shepherd, (1977). “This is a book about Nan Shepherds relationship with the Cairngorm Mountains in Scotland, mountains that sit outside her front door and that she has known as long as she remembers.  It’s a travelogue of sorts where she moves around the mountains opening up aspects of them that allow the reader to understand the intimacy of the tiny spaces that make up the Cairngorms as well as their overall vastness. I love the deliberate focus on the local and the familiar in this book, and Nan’s celebration of the ordinary.  I read it earlier this year and went back to the beginning to read it again.” (SM) The Living Mountain, Nan Shepherd.”Shepherd wrote the book in the 1940s, gave it to Neil Gunn to read, and sent it to one publisher who rejected it. It was finally published in the 1970s, and it feels so fresh, but has an intimacy borne from an incredible knowledge of (the nuances, the interiors, the fabric of) these mountains. She writes ‘I like the unpath best’, which to me speaks to not quite knowing, to the joy of discovering, and that can relate as much to creativity and how we make, as to walking and being in nature. (AT) (Also JB, LP)

Sweeney Astray, Seamus Heaney, (1983). This is Seamus Heaney’s translation of a medieval Irish poem called Buile Suibhne.  I read this first in 1994 and have returned to it 4 times since.  It tells the story of a king who following a curse made upon him has to live the rest of his days as a mad bird like creature, unable to rest in one place.  Its set in the north and south of Ireland and many of the places mentioned in it are close to where I was brought up – part of the reason I continue to return to the text. Sweeney portrays the landscape through the eyes of a mad, dispossessed, bird unable to stay still and always seeking rest…… it’s a peculiar and great way to view the land.(SM)

Hollow Land, Eyal Weizman, (2012). A book that looks at the multiple ways that architecture has been used to hollow out the land of Palestine, by the ongoing Israeli occupation and how built features function as weapons and ammunition. “The landscape and built environment have been transformed into tools of domination and control”. It talks about the way in which the subterranean spaces as well as the airspace above Palestine have been colonised leaving a thin layer of land in-between on which the Palestinians can exist.   (SM)

Atlas of Remote Islands, Judith Schalansky, (2010). This gorgeous book depicts 50 remote islands from across the world from Iwo Jima to Tristan da Cunha and from Easter Island to Disappointment Island and was the winner of the German Arts Foundation prize for the most beautiful book of the year.  On one page are Schalansky’s hand drawn maps and on the other page cryptic stories from the islands.  “Rare animals and strange people abound: marooned slaves and lonely scientists, lost explorers and confused lighthouse keepers, mutinous sailors and forgotten castaways.  Armchair explorers who undertake these journeys will find themselves in places that exist in reality, but only come to life in the imagination”.  (SM)

Landscape and Memory, Simon Sharma (2004). A history book unlike any other. In a series of journeys through space and time, it examines our relationship with the landscape around us – rivers, mountains, forests – the impact each of them has had on our culture and imaginations, and the way in which we, in turn, have shaped them to answer our needs.(DH)

Satantango – a novel (1985) by László Krasznahorkai and Satantango– a film adaptation (1994) by Bela Tarr. The plot deals with the collapse of a collective farm near the end of the communist era. Several people on the farm are eager to leave with the cash they will receive for closing down the community, it stands as a metaphor for our wider shared histories of displaced migration from the land. The novel and film explore the tense relationship held between the landscape and human lives and modernities endless war with nature, industrialisation and its forces. (DH)

Kilo, Mika Vainio (2013). Music released by Blast First Petite. An audio CD shaping ten tracks of a vivid and viscerally affective aesthetic whose themes of mass, dynamic and tone are succinctly, explicitly reflected in context of his shipping-themed track titles, and surely implied by its frighteningly physical presence. The relationship between landscape, sound and human failure.(DH)

I may be some time – Ice and the English Imagination, Francis Spufford (2003). A hugely readable, erudite and scholarly exploration of our obsessions with experiencing extremes, and limits in landscape, with an extended passage on the failures of RF Scott.(LP)

Wilderness Dreams – The call of Scotland’s last wild places, Mike Cawthorne (2007). A thoughtful look at Scotland based on personal experiences of the Scottish landscape. (A series of self-contained essays) (LP)

Mount Analogue : A Novel of Symbolically Authentic Non-Euclidean Adventures in Mountain Climbing, Rene Dumal (1952). (The title kind of says it) (LP)

Into Thin Air, Jon Krakauer, (1997). A narrative account of the tragedy on Everest when 8 people died, and looks at the problems of  expedition tourism on everest . Very, very readable (a bit of an “on holiday” book). (LP)

Findings – Kathleen Jamie (2005). Eleven perfect nature essays. (JB, LP)

Overlay: Contemporary Art and the Art of Prehistory, Lucy R.Lippard, (1983). An insightful book on art practice, landscape and timelines (NB)

Uncommon Ground: Land Art in Britain 1966-1979, Nicholas Alfrey, Joy Sleeman and Ben Tufnell (2013). Exhibition catalogue. While there are gender questions to be raised, this is a pertinent reminder of UK based artists’ interventions in to the land (NB)

Land Matters: Landscape Photography, Culture and Identity, Liz Wells (2011). Specific focus on the medium of photography and land including social, historical, gender perspectives (NB)

‘Histories’, Herodotus. Written around 450 BC and considered as the founding work of history in western literature, is a book I find returning time and time again. Moving beyond the description and utility of geography, it combines personal histories hearsay and myth in every description of land that for the moist part was never visited first-hand. Each individual section (named after the muses) places a series of layers and forms on the land itself into a landscape that exists in two levels – that of the real and the imaginary. (MM)

Refuge – an unnatural history of family and place, Terry Tempest Williams (1992). Williams is a writer and an activist, and this memoir is about Utah and the Great Salt Lake – where she interweaves a history of her family with her activism and the fight against nuclear testing, and the affects that nuclear testing has had on both the wildlife and the landscape of place, and her family, and the cancers that have affected her family (AT)

The Poems of Norman MacCaig, Editor Ewen MacCaig (2009). Nobody writes about Sutherland and Assynt like MacCaig. (AT)

The Peat Fire Flame, Folk Tales and Traditions of the Highlands and Islands, Alasdair Alpin MacGregor, The Moray Press, (1937). A book on Scottish Folklore (AG)

The Man Who Walks, Alan Warner (2003). “Cutting through the romanticism of landscape, this tale paints it black and injects weirdness” (AG)

The Storyteller, Walter Benjamin (1936). This was suggested by Jim Harold after Alan Grieve’s talk on contemporary storytelling and landscape. The essay outlines Benjamin’s belief that the oral tradition of storytelling was dying out.