Uillinn – Surviving and Thriving

Uillinn, Skibereen’s unique contemporary art gallery, is thriving and surviving while apparently ‘under siege’ from the onslaught of the major engineering works engulfing the town centre at the moment. It’s all about making the town and its buildings safe from future flooding: extreme weather conditions – which are likely to get worse as the years go by – are threatening Cork city and many of the low-lying  West Cork communities and works are now in hand to protect these settlements against serious flooding into the foreseeable future. The result is a whole lot of disruption but, as always, imperturbable Cork Rebels are just getting on with life in spite of it all.

Peace and quiet in Skibbereen, before the works commenced. Header picture – the Caol Stream reflected on the canopy of the cantilevered gallery

When the West Cork Arts Centre took the plunge to propose a significant arts gallery in Skibbereen back in the early years of the new Millennium, an architectural competition was held. In 2009, the winning design, by Dublin based Donaghy and Dimond Architects, proposed a dramatic 5-storey high Corten steel-clad box cantilevering over the Caol Stream that runs beside the site, gaining valuable ‘bonus’ space for accommodating the work of the Centre. In fact, the name Uillinn means ‘elbow’, and the gallery is situated on a bend – or elbow – of the stream. Economically – after the collapse of the Tiger years – it was a difficult time for Ireland and numerous projects were being cut or shelved, but work on the gallery went ahead, although not without compromise. Here’s an excellent article from the Irish Times which charts the progress of the building process.

Now, the gallery is facing new challenges as the flood relief works are encroaching on the surroundings of the building. The basis of the engineering solution to protect Skibbereen from further floods is to build high, waterproof walls around every watercourse in and around the town. The principal one of these is the River Ilen, which skirts the north side of the town. However, the Caol Stream – a tributary of the river – runs right through the commercial centre, and right by Uillinn. Finola has written about the abundant natural life that was contained in this stream, albeit much of it partly hidden from view. Everything is changing now, as the sides of the waterway are being steel-piled and concrete walls are being built up to a height of 1100mm all the way around it, as you can see in the photographs below. In places, toughened glass sheets will be inserted in perforations in the retaining walls to enhance the structure and allow views to the water.

Of course, a fresh ecosystem will establish itself in the new, concrete-encased channel, although the character of it is sure to change. Uillinn’s problem is that it is bounded by the stream all the way along its east elevation – and the main entrance is via a bridge (now temporarily dismantled) over the waterway.

Close work: the channel of the Caol Stream is being excavated and then lined as it passes beside Uillinn. The bridge providing the main access to the gallery has been removed to allow these works to proceed

In spite of all these works (which, for Skibbereen as a whole, won’t be finished until 2019) Uillinn – and the renowned Kalbo’s Café which it embraces – have to remain open and viable at all times. This is being achieved by constant liaison and close co-operation with the contractors, Jons Civil Engineering, appointed by Cork County Council, as agents of, and in partnership with the Office of Public Works. Although delayed by the ravages of Hurricane Ophelia and other severe winter storms, the contractors have pulled out all the stops in order to restore normality to the centre of the town as soon as possible and have managed to maintain full access to the gallery and cafe, and all premises in the path of the works, although some disruption to businesses in such circumstances is inevitable. On the west side of the Caol Stream, between Uillinn and Skibbereen’s Main Street, a disused single story shop has been purchased and demolished, and its site now provides a new pedestrian access to the gallery – and it’s one which will continue to be used once everything is finished and the bridge is restored. Suitably streetscaped, the overall approach to Uillinn will be much improved as a consequence of all these works.

The ‘old shoe shop’ (top) was an unusual structure, partly cantilevered out over the Caol Stream. Its removal (lower pictures) has enabled an extra pedestrian access to be established from Main Street

As a member of the Board of Uillinn, closely involved with much of the liaison between the gallery personnel and the contractors, I can confirm that relations have at all times been caring, cordial and helpful, and I commend those involved in the physical work for their skills and approachability through all the potential difficulties. I also commend the Director, Anne Davoren, and her dedicated team at the gallery for keeping cheerful and smiling throughout, and always maintaining a smooth efficiency. The staff of Kalbo’s Café have also kept up their impeccable standard of service and remain such an asset to Uillinn.

It’s unlikely that things will be back to normal before the opening of Uillinn’s momentous venture on 20 July this year – Coming Home: Art and the Great Hunger

. . . The exhibition of artworks at Uillinn, including work by major Irish and Irish American artists of the past 170 years such as Daniel Macdonald, Paul Henry, Jack B. Yeats, William Crozier, Hughie O’Donoghue, Dorothy Cross and Alanna O’Kelly, will be accompanied by a rich and diverse programme of performances, talks, lectures and events at Uillinn, and off-site in other locations in West Cork. These will resonate with the history and legacy of the Great Hunger and also amplify the contemporary themes explored in the exhibition. The themes include famine, the politics of food, poverty, displacement of peoples, refugees, emigration, identity, memory and loss . . .

We are all looking forward to the launch of this unique event in Skibbereen, and we know our contractors will ensure that everything will be done to prioritise good access and presentation of the gallery through the duration of the exhibition.

Coming Home: Art and the Great Hunger runs from 20 July to 13 October at Uillinn, Skibbereen

The Elemental World of Cormac Boydell

Perched on the very edge of Europe and facing into the Atlantic Ocean, the far west of Ireland is a terrifyingly beautiful place to set down your roots. Our own little spot, overlooking the comparatively calm reaches of Roaringwater Bay, faces into the winter gales and it’s a constant fight to keep the weather out: always a losing battle. But, could we live anywhere else? Certainly not. This week we met up with Cormac Boydell and Rachel Parry – two artists who live just about as far away as it is possible to be in wild West Cork. Like us, they battle with the elements; like us, they couldn’t envisage living anywhere else.

Cormac Boydell (header picture – in his studio) and Rachel Parry live on the edge of Ireland: their cottage and lush gardens feel as if they are carved out of the mountainside to seek maximum shelter from winter storms. They are well off the beaten track close to the end of the Beara Peninsula: the nearest settlement is Allihies (from the Irish Na hAilichí, meaning ‘the cliff fields) which was a centre for copper extraction in the Bronze Age and from the beginning of the Industrial Revolution when generations of Cornish Mine Captains came here to manage the mines, providing work for a substantial local population.

Connection with the landscape is something that’s inherent in the make-up of Cormac Boydell. It must be significant that he started out studying and working as a geologist – getting to know the physical fabric of the rocks and the earth around him – before setting out on a more creative path, working with those very elements to produce exuberantly robust ceramic sculptures which are unique and highly sought after.

Cormac’s tools are his hands. He works raw terracotta clay and crafts the shapes of his pieces without wheel or mould. He applies colours and – most importantly – textures into the surface, and firing provides the finishes – not always predictable. For him, this is all part of the living process. But that’s the physical process: into the whole equation, also, are his close observations of the environment around him – the geology, textures and colours of the rock surfaces from the natural and cultivated landscapes. He sees the way rocks break and how they weather – how time is an element in their metamorphoses. Somehow, into all this surveillance and appreciation of nature he also makes stories. He finds inspiration in ancient sagas, particularly those from Ireland, as we saw in the exhilarating work on the walls of his studio.

Cormac Boydell is one of the important group of artists who came and settled in West Cork during the second half of the last century – a group whose lives and work have yet to be properly celebrated. Like many others of this group he has stayed for life and contributed to raising the profile of art produced in Ireland. In a catalogue of work produced by West Cork artists and displayed both in Skibbereen and the Crawford Gallery in Cork 30 years ago – Living Landscape ’87 – he writes this of his own contribution to that exhibition:

. . . Landscape is not the first term I would apply to my work. However I always welcome challenge. Breaking new ground stimulates creativity where repetition kills it. Experimentation, welcoming both failures and success, working out beyond the boundaries of my vision… that’s the excitement of art making. Using rock and fired clay as elements of the landscape, “Earthbone” expresses the spirit from which the landscape is formed . . .

Alison Ospina wrote in 2011 in the introduction to her book West Cork Inspires:

. . . Hidden down the leafy lanes of West Cork I have found artists whose work is of the highest calibre and should be considered of national importance . . . I have selected people working in a variety of media whose work has had an impact on other craftspeople and has been influential in developing West Cork’s reputation for excellence and originality . . .

In her book she writes of Cormac Boydell:

. . . Cormac’s work is organic and elemental, the earth is its source. It resonates across millennia from when the bedrock of this country was being laid down and speaks of torsion and vortices, glacial drift and the alchemy of fire. It taps into the energies of nature, to which it is inextricably linked . . .

One of my favourite new pieces from Cormac Boydell is this large plaque inspired by the story of the Irish Saint Éinne (also known as Saint Enda): the patriarch of Irish monasticism. He is the brother of St Fanchea (see Finola’s post about Irish women saints) and was a warrior until Fanchea persuaded him to lay down his arms. He went to Aran in 484 and founded the first monastery there but the local chieftain Corbanus intervened. Éinne’s response was to banish all of Corbanus’s horses from the islands. This is the scene which Cormac has illustrated and it’s one of a recent series which is based on myths and legends.

You could own a piece by Cormac Boydell! This ceramic – based on a story from the Finn McCool cycle – has been purchased by Uillinn, the West Cork Arts Centre gallery in Skibbereen, and will be on display there from this week until the end of the Art & The Great Hunger Exhibition which runs from 20 July to 13 October. While the gallery is open you can purchase draw tickets at only 5 Euros each: the prize, which will be drawn on the last day of the exhibition, is the Boydell ceramic. What an opportunity – every ticket stands an equal chance of winning this unique work of art! And all your contributions will be supporting the activities of the Arts Centre.

With grateful thanks to Cormac and Rachel for allowing us a glimpse into their world

Robert’s Favourite Posts

We had an unexpected – and unsolicited – accolade in the Irish Examiner last weekend! Tommy Barker wrote, in an article about Rossbrin (pictured above): “…The wonderful literary and visually rich website, http://www.roaringwaterjournal.com, by Rossbrin residents Robert Harris and Finola Finlay is a treasure, a sort of 21st century Robert Lloyd Praeger, online…” Of course, we went straight to our bookshelves to dip into our copy of Praeger’s The Way That I Went – An Irishman In Ireland, first published in 1937. Here’s an extract:

…At the southern end of this land of great mountain promontories, in West Cork, you find yourself in a little-known and tourist-free region of much charm. You stay on Sherkin Island (Inis Oircín, little pig’s island) or Cape Clear Island, at Schull (Scoil, a school) or far out at Crookhaven: and you walk and boat and fish and lounge and bathe, and enjoy the glorious air and sea; towns and trams and telephones seem like bad dreams, or like fugitive glimpses of an earlier and inferior existence. A meandering railway penetrates to Schull, and roads are as good as you could expect them to be in so lonely a country. All is furzy heath and rocky knolls, little fields and white cottages and illimitable sea, foam-rimmed where it meets the land, its horizon broken only by the fantastic fragment of rock crowned by a tall lighthouse which is the famous Fastnet…

Yes – that’s our West Cork alright (above is a view of the Mizen taken from Mount Gabriel). We hope that, over five years of writing this journal, we have indeed given a good account of this wonderful place which we are privileged to call ‘home’. Certainly, there is nowhere we would rather be. But Roaringwater Journal has not just been about West Cork: we have covered a fair bit of Irish culture and history as well. Last week’s post set out the six most popular articles that we have written in terms of readership numbers; today we are both reviewing our own personal favourites (see Finola’s here) and there is lots to choose from: 466 posts to date! All of them are listed by category in the Navigation pages.

Foremost in my own mind in terms of personal satisfaction is the series I wrote last year: Green & Silver. There have been nine posts in all, starting with my review of a book which I first read in 1963, when I won it as an essay-writing prize at school. The book, Green & Silver, told the story of a journey around the Irish canal system in 1946 (the year I was born), undertaken by an English engineer and writer, L T C ‘Tom’ Rolt and his wife, Angela. When I wrote the review 70 years had passed since the Rolts made that journey. Finola and I conceived the idea of retracing the steps of the Rolts, although not by boat: we drove and walked. It was to be an exercise in tracking the passing of time. We would find the location of every photograph that Angela Rolt had taken in 1946, and take a new one, so that we could compare the changes that had occurred over seven decades. There were many: the canals themselves, which were then near-derelict in places have now been well restored, and the island of Ireland has today an amazing but probably under-appreciated asset: a cross-border system of navigable waterways which connects Waterford, Limerick, Dublin, Belfast and Coleraine.

Canal port: Richmond Harbour, Co Longford. Upper picture taken by Angela Rolt in 1946; lower picture, the same view taken 70 years on

I have always had an obsession with wildlife, and one of my favourite posts summarises what wonderful natural things we have all around us here: The Wild  Side. We have written about the birds – choughs, eagles, sparrowhawks – and the little ones that come to our feeder and keep us entertained.

We will never forget our good friend Ferdia, who arrived on our doorstep on the day we moved into Nead an Iolair, and was a regular visitor (usually daily) over several years. Sadly, foxes don’t live for long in the wild, and he has now passed away. He was a very fine dog-fox and was undoubtedly the head of a large family. We hoped that one of his offspring might have taken his place on our terrace, but I suppose he just could never be replaced.

Of course, the pasture and coastline that surrounds us has fine creatures of the domesticated variety, too! (left and right below).

I have family roots in Cornwall and, during my time living here, I have become aware of many links between that westernmost peninsula of Britain and West Cork. In fact, those links go back into prehistory: in the Bronze Age – three and a half thousand years ago – copper was mined on the slopes of Mount Gabriel – a stone’s throw from where we live – and was mixed with tin from Cornwall to make the all-important ‘supermetal’ of Bronze. Another link which I was so pleased to find was that Cornwall’s Patron Saint – St Piran – was actually born and brought up on Cape Clear – the island we look out to across Roaringwater Bay. Read all about it here.

The little church at Perranzabuloe in Cornwall (now inundated by sand) marks the spot where St Ciarán from Cape Clear landed to start his mission. Because of a difference in the Irish and Cornish languages, he became known as St Piran over there. He lived to the age of 208!

Stirring up those links led to my life being taken over in the summer of this year by organising (together with Ann Davoren and the team at the West Cork Arts Centre) an exhibition of the work of three contemporary Cornish artists which was held in Uillinn, Skibbereen’s amazing new gallery. The exhibition ran with the title of West meets West and heralds future collaborations and visits to Cornwall by West Cork artists. This link opens the series of posts that report on all this.

My time here in West Cork – and in Ireland – has heightened my interest in all things medieval, particularly architecture. Finola has written a highly researched and detailed series on the Irish Romanesque style, and our travels to carry out this research have been enjoyable and instructive. I have taken a liking to High Crosses, most of them probably over a thousand years old. They are always found in the context of fascinating early ecclesiastical sites. If you want to know more, have a look at the posts: so far we have explored Moone (above), Durrow (below), Monasterboice, and Castledermot. There are many more to add to this list – and to keep us busy over the next few years.

That’s quite enough for one post! It would be possible to write several on how we have been inspired by our explorations in search of material. Somehow, though, our hearts always come back to our very own piece of Irish soil: Nead an Iolair (Nest of the Eagles). Here it is, and here are the eagles flying over it! You’ll find more about them here.

The Edge of the Landscape – William Crozier

The Edge of the Landscape is the title of an upcoming exhibition which opens this weekend at Uillinn. It will show some of the later work of William Crozier (1930 – 2011), a Scottish born artist who considered himself more Irish than Scottish as his parents were from Ballinderry, Co Antrim. He adopted Irish citizenship in 1973 and purchased a cottage at Kilcoe, West Cork, in the early 1980s. Although he worked both here and in Hampshire for the rest of his life, most of his later paintings dwelled on the Irish landscape – specifically the splendours of West Cork, which are so familiar to us.

The meeting of land and sea was a recurring theme in Crozier’s work. The quay at Turk Head, above, inspired the header on this post – painted by Crozier in 2003. We might wonder at the eye of the artist that pictures the scene in such vivid colours, but anyone who has lived in West Cork will be familiar with his palette: the rocks, the fields, the lanes, wildflowers, water and ever-changing skies provide all the colours in his paintings, tints, tones and shades which are successfully pulled into unexpected compositions.

Katharine Crouan – Bill Crozier’s widow – has written to me “…Bill was not, in any way, a topographical artist but you can see in his work – particularly from 1984-95 – the stimulus  the landscape provided. He spoke of loving the ‘glamour’ of the West Cork landscape, referring to the glitter of water and sunlight on foliage after rain and the dark shadows that came out of nowhere. For him it was all magical…”

‘Kilcoe Strand (From Peninsula)’, painted by William Crozier in 2011

I am reminded of Peter Lanyon, the St Ives artist (who was, interestingly, the subject of a book titled At the Edge of Landscape): he famously said that, as a painter, he needed to “…get under the skin of the landscape…” That need informs his work, which is abstract rather than specifically landscape-based yet inspired, as he stated, from flying over his native Cornwall and – by exploring the mine shafts – tunnelling underneath it. For me, William Crozier has the same regard for his West Cork homeland and successfully expresses his relationship with it through the richness of his work.

Toe Head, West Cork (upper picture) was the inspiration for many paintings. Lower works: Toe Head 1989, (left), and Wolf’s Castle, Toe Head 1998 (right – Richard Barrett) 

William Crozier was a prolific painter – he estimated that he had painted more than 12,000 pictures, each executed in a single session. The landscape-inspired works are just one part of an enormous opus. He did not overlook the sometimes hard realities of his surroundings. Cocks of hay drying in a field may appear a romantic ‘rural idyll’, but are equally a portrait of an economically unviable small-holding.

William Crozier in his studio c 2009

The exhibition of a selection of Crozier’s work produced since 1985 is showing at Uillinn: West Cork Arts Centre from 15 July to 31 August, and later in the year some of his earlier works will be shown at IMMA: The Irish Museum of Modern Art from 12 October 2017 to 8 April 2018. Both exhibitions are curated by Seán Kissane (Curator, Exhibitions, IMMA), who will be presenting a talk on the work at 6pm this Friday, 14 July, in Uillinn, following which the exhibition will be formally opened by Sarah Glennie, the Director of IMMA. An important new publication edited by Katharine Crouan and Seán Kissane and designed by Peter Maybury accompanies the exhibition with texts by Mark Hudson, Katharine Crouan, Seán Kissane, Riann Coulter, Enrique Juncosa, and Sarah Turner.

Below – Departure from the Island, William Crozier 1993 (Flowers Gallery). Note that copyright on all works rests – unless otherwise stated – with the William Crozier Estate

Postscript – In the Tracks of the Yellow Dog

Uillinn – the West Cork Arts Centre gallery in Skibbereen – has a great facility in its exhibitions – a Discovery Box which can be used by children (or anyone else) to express their reactions to whatever is on show. I went in the other day to have a last look at the West meets West show of the work of Cornish Artists (hurry! – it closes on Saturday 8 July) and was delighted to see that someone had used some elements from the box to place a little installation under Matthew Lanyon’s painting aptly titled ‘Skibbereen’.

The Discovery Box in action at Uillinn – left, with Phil Booth’s impressive construction Gwennap Head in the background and – right – set against Tony Lattimer’s wonderful ceramics. (Photos courtesy of West Cork Arts Centre)

The Discovery Boxes are tailor-made for each exhibition. This one has been assembled by Sarah Ruttle and includes (amongst a multitude of inspired shapes) fish and fishing nets, miniature coiled ceramics reminiscent of Tony’s work – and a yellow dog! Why a yellow dog? Well, one of the most striking exhibits in this show is a tapestry designed by Matthew Lanyon – In the Tracks of the Yellow Dog.

Upper picture – the Discovery Box installation under Matthew Lanyon’s ‘Skibbereen’ painting and (lower left) the tapestry with (lower right) the paw print of the Yellow Dog substituted for the artist’s signature

The tapestry was manufactured by Flanders Tapestries in Belgium: cottons, wools and acrylics were selected in close collaboration with Matthew to achieve a tonal harmony from his original design. The yellow dog, a reference to Yellow-Dog Dingo from Kipling’s Just So stories, makes only one appearance; the paw print from a dried out salt lake in central Western Australia substitutes for the artist’s signature. 

We will miss the excitement and impact of those large, very Cornish works once they are packed up and sent back across the Celtic Sea, but that’s the nature of a gallery: the moment has to be enjoyed and then set aside as it will be soon replaced by other stimuli. Following on from West meets West at Uillinn is The Edge of the Landscape a major retrospective of the art of William Crozier (1930-2011), opening on Friday 14 July at 7pm. Born in Scotland, Crozier spent much of his time in Kilcoe, West Cork, from the mid-1980s, and this exhibition will present many of his works which have been inspired by the landscapes so familiar to us.

Below: Matthew Lanyon’s Skibbereen

Saintly Pigs and Curious Carvings

This is the last in the series of West meets West posts, which have been running alongside the exhibition of Cornish artists at the West Cork Arts Centre’s gallery in Skibbereen – Uillinn.

The painting (above left) by Cornish artist Alex Smirnoff (courtesy of Bryony Harris) wonderfully illustrates the story of Saint Credan who, like Saint Piran before him, travelled from Ireland to convert the heathens in Cornwall to Christianity in the 7th century. Our Saint Credan is looking a little melancholy. That’s because he accidentally killed his own father and therefore spent the rest of his life as a swineherd in penance. As a compensation it has to be said that he raises very fine pigs! Behind him is the ancient parish Church of Sancreed, very accurately portrayed with its huge colony of rooks in the trees behind. In the same picture is one of the five ancient crosses in the churchyard. The church itself dates from the 14th century: the crosses may be much older than that.

Above right is from a fine study of the entrance to Sancreed churchyard – by the Irish-born ‘Father’ of the Newlyn School, Stanhope Alexander Forbes. It is titled ‘October’ and was painted in 1898. Sancreed was the church attended by many of the Newlyn School artists, and the churchyard contains the graves of some of them, including Forbes and his wife Elizabeth Armstrong. In the church is a memorial designed by Forbes to commemorate their only son, Alec, who was killed in the Battle of the Somme in 1916. Close by is a holy well, described by Amanda.

The crowning glories of this church, however, are the unusual carvings on the rood screen inside, which date from the 16th century. Last week I showed you the carving of the Chough – a bird closely linked with Cornwall and Ireland. Today I am illustrating some more of these carvings, and these show very strange beasts indeed! Some of them can be recognised as heraldic; no doubt they all would have carried symbolism when they were placed here five hundred years ago.

A basilisk is hatched by a cockerel from the egg of a toad. Be careful, because it has a lethal glare and poisonous breath. The basilisk carved in Sancreed church (above left) looks fairly personable, while Alex Smirnoff’s version of it (above right – inspired by the Sancreed carving) should be given a wide berth. Look at the shadowy figures – and the ancient cross – hiding in the background of Alex’s painting: typical of his work.

It’s not just strange creatures that are depicted at Sancreed (and there are many more of them) – there are figures as well:

Above are two panels with ‘Janus’ figures, male and female and – on the right – is a most curious character who seems to be a musician playing, perhaps, a serpent or a cornett. But he seems to be part bird, or wearing a feathered cloak. Below is a three-headed figure and a representation of an angel, perhaps: could this actually be Saint Credan hiding in his own church?

All this might seem a far cry from the exhibition in Skibbereen, which features three contemporary artists from Cornwall… But it certainly is art from Cornwall – and in a church which was founded by an Irish Saint; and a church, moreover, which had a special meaning for many of the Newlyn School artists, including Irish-born Stanhope Forbes, founding ‘Father’ of that school.

This series consist of twelve posts (including this one). You can link to them individually through this list:

Off to Skibbereen
A Saint’s Day – Ciarán and Piran
West meets West
Connecting with St Ives
A Watery Tale
Ways West
Sheep’s Head: Searching for Cornish Miners
Artists of the Western Coasts
Up and Running!
Forbes – An Irish Artists in Cornwall
Choughs – and their travels
Saintly Pigs and Curious Carvings

There’s still time to visit Skibbereen to see the exhibition of the Cornish artists’ work: West meets West is on until July 8 at Uillinn. Enjoy it!