VERA Platform_434 Highlands and Islands "The Highlands is a historical region of Scotland. Culturally, the Highlands and the Lowlands diverged from the Late Middle Ages into the modern period, when Lowland Scots language replaced Scottish Gaelic throughout most of the Lowlands. The term is also used for the area north and west of the Highland Boundary Fault, although the exact boundaries are not clearly defined, particularly to the east. The Great Glen divides the Grampian Mountains to the southeast from the Northwest Highlands. The Scottish Gaelic name of A' Gh\u00e0idhealtachd literally means "the place of the Gaels" and traditionally, from a Gaelic-speaking point of view, includes both the Western Isles and the Highlands." English,Scottish Gaelic Landscape 3D University of St Andrews VERA Platform "The Highlands is a historical region of Scotland. Culturally, the Highlands and the Lowlands diverged from the Late Middle Ages into the modern period, when Lowland Scots language replaced Scottish Gaelic throughout most of the Lowlands. The term is also used for the area north and west of the Highland Boundary Fault, although the exact boundaries are not clearly defined, particularly to the east. The Great Glen divides the Grampian Mountains to the southeast from the Northwest Highlands. The Scottish Gaelic name of A' Gh\u00e0idhealtachd literally means "the place of the Gaels" and traditionally, from a Gaelic-speaking point of view, includes both the Western Isles and the Highlands." 3D Object "" Movable Heritage "Clay creamer from Asturias, Spain. " Movable Heritage " The weaver draws inspiration from the landscape and rich culture of Scotland. As Sam stated: \u201cI follow a well trodden path that continues to draw connections between the diverse Scottish landscape and the cloth that I make\u201d. \r\nWeaving woollen cloth has been an essential part of Scottish life for centuries, evolving from handwoven domestic production of the 17th century to mechanised mass production during the Industrial Revolution. Classic cheviots, rustic homespun-style tweeds, robust Estate tweeds, as well as the finest woollen cloths remain a staple of the Scottish textile \r\nindustry. They provide warmth, protection, style, and comfort, while also reflecting craftsmanship, provenance, and individuality amidst a world of mass production. While pockets of mechanised production developed in the Highlands and north east of Scotland, thousands flocked to the newly established mass production mills in the lowlands. \r\nClaiming to be the oldest firm of loom makers in the world, \r\nGeo Hattersley and Sons developed the Hattersley Domestic loom in \r\nparallel with a whole range of sophisticated specialist textile machinery. \r\nOriginally developed for export to the colonies in the late 19th Century, \r\nthe Hattersley Domestic is a compact, semi-automated foot-treadle \r\nloom. While evolutions in textile manufacturing grew at a higher pace with \r\nthe advances in water, steam and coal power, the Hattersley Domestic \r\nensured pockets of production remained in remote rural settings where \r\nindividuals and communities could continue to produce commercial \r\ncloth and remain on the land" Movable Heritage " The weaver draws inspiration from the landscape and rich culture of Scotland. As Sam stated: \u201cI follow a well trodden path that continues to draw connections between the diverse Scottish landscape and the cloth that I make\u201d. \r\nWeaving woollen cloth has been an essential part of Scottish life for centuries, evolving from handwoven domestic production of the 17th century to mechanised mass production during the Industrial Revolution. Classic cheviots, rustic homespun-style tweeds, robust Estate tweeds, as well as the finest woollen cloths remain a staple of the Scottish textile \r\nindustry. They provide warmth, protection, style, and comfort, while also reflecting craftsmanship, provenance, and individuality amidst a world of mass production. While pockets of mechanised production developed in the Highlands and north east of Scotland, thousands flocked to the newly established mass production mills in the lowlands. \r\nClaiming to be the oldest firm of loom makers in the world, \r\nGeo Hattersley and Sons developed the Hattersley Domestic loom in \r\nparallel with a whole range of sophisticated specialist textile machinery. \r\nOriginally developed for export to the colonies in the late 19th Century, \r\nthe Hattersley Domestic is a compact, semi-automated foot-treadle \r\nloom. While evolutions in textile manufacturing grew at a higher pace with \r\nthe advances in water, steam and coal power, the Hattersley Domestic \r\nensured pockets of production remained in remote rural settings where \r\nindividuals and communities could continue to produce commercial \r\ncloth and remain on the land" Movable Heritage "This beautifully hand-knitted blanket reflects the distinctive symbolic patterns of traditional fishermen\u2019s jumpers or ganseys. Each distinct hand-knitted square depicts patterns from a particular port or harbour along the Moray Firth region, from Buckie in the southeast to Helmsdale and finally to Wick in the far north. \r\nThe Timespan Knitting Group was formed in 2005 to keep this traditional knitting heritage connected to the sea alive and share these traditions with people of all ages. The group meets weekly at Timespan in Helmsdale, a once-thriving herring fishing port and one of the busiest in Scotland. Salted herring from Helmsdale was exported to the West Indies slave plantation, the Baltic, Ireland, and Europe and traded locally.\r\nThe group has created this wonderful artisan blanket, each knitter contributing a square, creating a map of the patterns from the Moray Firth fishing district. The blanket can be displayed as a wall hanging with an accompanying annotated map with the port names.\r\n" Movable Heritage "This beautifully hand-knitted blanket reflects the distinctive symbolic patterns of traditional fishermen\u2019s jumpers or ganseys. Each distinct hand-knitted square depicts patterns from a particular port or harbour along the Moray Firth region, from Buckie in the southeast to Helmsdale and finally to Wick in the far north. \r\nThe Timespan Knitting Group was formed in 2005 to keep this traditional knitting heritage connected to the sea alive and share these traditions with people of all ages. The group meets weekly at Timespan in Helmsdale, a once-thriving herring fishing port and one of the busiest in Scotland. Salted herring from Helmsdale was exported to the West Indies slave plantation, the Baltic, Ireland, and Europe and traded locally.\r\nThe group has created this wonderful artisan blanket, each knitter contributing a square, creating a map of the patterns from the Moray Firth fishing district. The blanket can be displayed as a wall hanging with an accompanying annotated map with the port names.\r\n" Movable Heritage "A hand made white porcelain vessel decorated with inlaid coloured porcelain tree motifs in black and blue, with matt black glaze on the inside. \r\n\r\nMaking Process: A thin slab of porcelain is rolled out and decorated with coloured porcelain that is inlaid into the top surface. While still soft the vessel is hand formed by wrapping the slab around a porcelain base. Black matt glaze is hand painted on the inner surface and the external unglazed porcelain is lightly polished. " Movable Heritage "" image/jpeg Image "" image/jpeg Image "Applied Arts Scotland is a membership organisation run \u2018by makers for makers\u2018 in Scotland. We nurture the creative heart and soul of making practice, celebrate expertise, and facilitate practical opportunities for creative and professional development." Organization "Applied Arts Scotland is a membership organisation run \u2018by makers for makers\u2018 in Scotland. We nurture the creative heart and soul of making practice, celebrate expertise, and facilitate practical opportunities for creative and professional development." Organization "The University of St Andrews is a world class center for excellence in teaching and research. Open Virtual Worlds is an interdisciplinary group of researchers bringing together expertise in computing, digital design, history and museology. The research group works closely with experts and communities in the creation and deployment of cultural heritage content. With 10 years experience in 3D and immersive technologies, focusing on system engineering and the relationship between quality of service and experience this partner will contribute data management systems and content production to the project." Organization "The West Highland Museum was founded in 1922 by a group of Lochaber folk who wished to create a museum for the West Highlands, second to none in Scotland." Organization "The West Highland Museum was founded in 1922 by a group of Lochaber folk who wished to create a museum for the West Highlands, second to none in Scotland." Organization "Creators of handcrafted utilitarian lighting and product design & fabrication.\r\n\r\nThe YB workshop sits quietly nestled within the Cairngorms National Park in the Scottish Highlands .\r\n\r\nFusing a background of Sculpture & visual art with design , making and fabrication YB create an environmentally sensitive collection of timeless pieces whilst working on bespoke commissions and creative project work .\r\n\r\nValuing simplicity and quality craftsmanship each separate Yellow Broom product is meticulously created by hand placing a strong emphasis upon the design process , material procurement , function and strong but minimal aesthetics.\r\n\r\nApplying a considered combination of traditional steam bending techniques with modern construction methods YB value sustainability and are sensitive to our environmental impact and responsibilities as designer\/ makers . Our products are where possible created from locally sourced materials proudly working with a Zero waste approach making. \r\n\r\nRe-purposing materials, be that of surplus supply to the construction industry or the off cuts of another maker or manufacturer is integral to YB work and ethos . \r\n\r\nAny product stating it is created with repurposed materials will be a limited edition according to the sources available . \r\n\r\nYellow Broom believe that clarity and harmony within a home can be achieved through the careful blending and integration of visual art and design . That belief is of paramount importance to us and enables us to express our interest in the pleasure we believe handmade functional objects bring to everyday life . Some of the best designs are the objects that we take for granted; and for us the simplicity and genius of the paper clip are what we both strive for in the products we create . \r\n\r\nAll YB products are made to order minimising waste alongside offering the client the potential to apply their own personal touch to each separate design.\r\n\r\nYellow Broom actively promotes working with architects and interior designers. We enjoy and encourage working with clients on bespoke commissions and projects both domestic and commercial , drop us a line or give us a call if you would like to work with us. 07813 500 603 .\r\n\r\n| BA (Hons) | | Professional member of Visual Arts Scotland | | Member of Crafts Scotland | | Professional member of Applied Arts Scotland | | Professional member of Scottish Artists Union |\r\n\r\n| Board member and Vice Chair of Applied Arts Scotland | | Advisory board representative for Craft Scotland || Craft Development network member | \r\n\r\n| Inches Carr Award winners 2019 |\r\n\r\n| Publications & Features | | Elle Decoration | Elle Country | Homes and interiors | Vogue | Modern Rustic| Country Living | Scotland on Sunday | Herald | Scotsman | Financial times | FX Magazine |" Organization "" Intangable Heritage "" Intangable Heritage "" Intangable Heritage "" Intangable Heritage "The history, tradition, and process of making Scotch whisky. Peat is sometimes used to enhance the flavour and give it a smoky taste." Intangable Heritage "" Meeting "All the Culturality partners met up in the Isle of Lewis to share their updates, next steps in the work packages, and participate in a workshop about project deliverables." Meeting "A RuralSpot in Scotland was held at Clan MacQuarrie Community Centre. Makers and stakeholders were invited to participate in discussions with the Culturality partners. Speakers from the Callanish Stones, Harris Tweed, and Tourism companies shared their experiences." Rural Spot "" Tour "" Tour "A Tour of the Woven in the Bone Studio." Tour "A Tour of the Woven in the Bone Studio." Tour "A hand made white porcelain bottle decorated with inlaid coloured porcelain in blue, grey and orange.\r\n\r\nMaking Process: A series of thin slabs of porcelain are rolled out and decorated with bands of coloured porcelain that is inlaid into the top surface. The pattern is then cut into smaller sections and the slabs are reformed into the shape of the bottle. While still soft the bottle is hand formed by wrapping the slab around a porcelain base. " Movable Heritage "Highland and Islands shape from https:\/\/mapit.mysociety.org\/area\/135013.html Contains public sector information licensed under the Open Government Licence v3.0." application/vnd.google-earth.kml+xml Shape "The broken pieces of a corroded cast cauldron were found in 2013 during an excavation of a pre-Clearances longhouse in the Caen River Valley, in the Strath of Kildonan. The presence of tripod feet and looped swing handles suggests it was used over an open fire. It typically took the form of a witch's cauldron. A fragment was retrieved from within the wall next to the house entrance and possibly signifies a Highland tradition where iron was inserted into the house apertures, including doorways, fireplaces, and window sills, to prevent evil spirits from entering the home. " Movable Heritage "" Tour "" Tour "" Tour "" Tour "Grinneabhat is a community-owned meeting place with a caf\u00e9 and accommodation available. It is deep-roooted within its Gaelic community, having been originally a school for the community. Exhibitions also take place within its halls." Collection "This is a fine example of a traditional 'Helmsdale' patterned fisherman's gansey or jumper, dating back to\r\nthe mid-20th century. The design features motifs that include the diamond shape of herring nets and the\r\ncable patterns reminiscent of rope and rigging. This particular jumper was typically worn on special\r\noccasions or Sundays, rather than while at sea. Fisherwomen, who were skilled knitters, created ganseys\r\nduring their spare time as they awaited the herring catch to arrive at the quayside." Movable Heritage "This is a fine example of a traditional 'Helmsdale' patterned fisherman's gansey or jumper, dating back to\r\nthe mid-20th century. The design features motifs that include the diamond shape of herring nets and the\r\ncable patterns reminiscent of rope and rigging. This particular jumper was typically worn on special\r\noccasions or Sundays, rather than while at sea. Fisherwomen, who were skilled knitters, created ganseys\r\nduring their spare time as they awaited the herring catch to arrive at the quayside." Movable Heritage "Hattersley & Sons domestic mechanical loom, used by Sam Groates at Woven in the Bone for the productino of tweed fabric. The Hattersley loom was developed by George Hattersley and Sons of Keighley, West Yorkshire, England. The plain Hattersley Domestic Loom was specially developed for cottage or home use and designed to replace the wooden handloom; the Domestic is similar in construction to a power loom. It was introduced ca.1900 and the makers claimed that a speed of 160 picks per minute could be easily attained with from 2 to 8 shafts weaving a variety of fabrics." Movable Heritage "Wooden hanging light, titled YB18, created by Yellow Broom. Single pendent light hand turned in Sycamore with natural Tan leather and a pastel braided fabric flex. Inspired from a traditional industrial inspection lamp this tactile simple light can be presented in several ways. See our wall pegs for a bespoke twist. H370mm W100mm." Movable Heritage "For five decades, Sue Blair has made unique ceramics interpreting the raw elements of the landscape in simple, striking forms." Tour "For five decades, Sue Blair has made unique ceramics interpreting the raw elements of the landscape in simple, striking forms." Tour "The Butt of Lewis Lighthouse is situated on the Isle of Lewis in the Outer Hebrides. It was engineered by David Stevenson in 1862. The station\u2019s claim to fame, according to the Guinness Book of Records, is that it is the windiest spot in the UK." Tour "The Butt of Lewis Lighthouse is situated on the Isle of Lewis in the Outer Hebrides. It was engineered by David Stevenson in 1862. The station\u2019s claim to fame, according to the Guinness Book of Records, is that it is the windiest spot in the UK." Tour "The Isle of Harris Distillery was started in 2015 as a sustainable future-proof method of creating jobs and opportunities in Lewis and Harris. It is an attractive opportunity for young generations to return back to their Hebridean homes, countering the long-term decline in population on the island. Both gin and whisky are produced here." Tour "The Isle of Harris Distillery was started in 2015 as a sustainable future-proof method of creating jobs and opportunities in Lewis and Harris. It is an attractive opportunity for young generations to return back to their Hebridean homes, countering the long-term decline in population on the island. Both gin and whisky are produced here." Tour "The Calanais Standing Stones are an extraordinary cross-shaped setting of stones erected 5,000 years ago. They predate England\u2019s famous Stonehenge monument, and were an important place for ritual activity for at least 2,000 years." Tour "The Calanais Standing Stones are an extraordinary cross-shaped setting of stones erected 5,000 years ago. They predate England\u2019s famous Stonehenge monument, and were an important place for ritual activity for at least 2,000 years." Tour "The Clan MacQuarrie Community Centre is available for event hiring and is run entirely by community volunteers." Tour "The Clan MacQuarrie Community Centre is available for event hiring and is run entirely by community volunteers." Tour "Pulling the handle by hand is a technique used in mug making to compete the production of the handle. The process invloves holding clay in one hand and with the other hand (which is wet) stroking the clay into a strip. This strip is then cut into desired lentghts (apporx four inches). One end of the strip is then attached to the top of the mug. The strip is then stroked through a pulling process and looped round to form a handle. The other end is then fixed towards the base end of the mug." Intangable Heritage "One type of tradtional wooden fishing vessel is a \u2018Sgoth\u2019 or \u2018Sgoth Niseach\u2019 \u2013 a traditional type of clinker-built skiff with a dipping lug rig and a Lateen style sail, built mainly in Ness in the Western Isles of Scotland. These boats were used for line fishing during the 19th century but as this industry died out in the Western Isles, the number of Sgoths being built reduced. In 1935 \u2018Jubilee,\u2019 built by the late John Finlay Macleod, was launched and is the last original working \u2018Sgoth.\u2019 (Falamadair, 2025). Mark Stockl is a traditional boat builder based in Ullapool and has worked extensively with Falamadair _ The North Lewis Maritime Trust, in the restoration of Sgoths for which they are the guardians. He has also built replica Sgoths for private clients (see AAS_AR_06) and restored other Ness built clinkers (see AAS_AR_10). The full process of designing and building a traditional wooden \u2018clinker\u2019 boat is described in AAS_PR_002. The Cultural practice documented in this input focuses on the method of \u2018Copper Roving\u2019 (fixing the copper rivets through the planks to hold them in place) during the repair of AAS_AR_10. This artefact was in Mark\u2019s workshop on the day of the interview. " Intangable Heritage "A Melodeon is an accordion that has buttons, rather than piano keys and requires a different skill set to play. The method of playing is captured and described in video: AAS_AR_13 How to Play Melodeon. " Intangable Heritage "A table lamp created by Yellow Broom" Movable Heritage "" Movable Heritage "" Movable Heritage "" Movable Heritage "" Movable Heritage "A 'Potters Wheel' used to throw clay to make pottery. Powered by electricity. " Movable Heritage "Clay" Movable Heritage "Electric Kiln" Movable Heritage "This replica build Sgoth was commission by Alasdair Smith and built by Mark Stockl (AAS_PR_002). The Sgoth is based on measurements taken from Callicvol, (a Sgoth built by John Murdo Macleod in the 1970\u2019s) but has been lengthened by a foot to create a proportional balance similar to the Jubilee (another Sgoth, renovated by Mark Stockl and used for lesiure sailing by Falmadair). " Movable Heritage "Hand plane for shaping wood. " Movable Heritage "Battery operated hand drill. Removable and rechargable battery. Used to drill holes \/ screws. Modern replacment for a hand turned drill. " Movable Heritage "The Western Isles have a rich source of croft reared meat from sheep and cattle. Local venison is also available as are supplies of fesh fish and shellfish form the sea. Guga (young gannet) is a speciality of Ness, as is black pudding (made from lambs blodd rather than pigs blood). Many local chefs are now focusing on using local produce in their menus. However, the cultural practice this data collection is focusing on links to one of the fundamental tools used by chefs \u2013 Knives. These need to be sharpened and different chefs have different methods of doing so. Paul sharpens his own knives using a 'wet and dry' technique that he was taught by a travelling knive sharpener when he was training at the beginning of his career. This service no - longer exists but the practice of knive sharpening is fundamental to maintaining tools. " Intangable Heritage "Knive used by Chef Paul Moorby. The top knife (fish) is used fro scale. The bottom knife is the artefact. " Movable Heritage "Two wetstone blocks for sharpening knives. One 400\/100 grain and one 3000\/8000." Movable Heritage "A Box of Tangible Prompts. This artefact is a wooden box containing a number of tangible objects connected to the Isle of Lewis. This collection is used as a discussion prompt when Jon is hosting the Muir is Tir \u2013 Land and Sea artist residency. See AAS_CP_005 for more infomration on the residency. " Movable Heritage "I\u2019m an artist and maker based in Forfar, Scotland. Since graduating from Grays School of Art in Aberdeen, I\u2019ve developed my practice from tile making to creating forms and vessels with porcelain and paper clay. All of my work is hand built using slabs of clay which are rolled, cut or shaped around forms. This process allows me to create any shape within the limits of the materials while giving me the flexibility to inlay colours using well practised techniques." Artisan "I\u2019m an artist and maker based in Forfar, Scotland. Since graduating from Grays School of Art in Aberdeen, I\u2019ve developed my practice from tile making to creating forms and vessels with porcelain and paper clay. All of my work is hand built using slabs of clay which are rolled, cut or shaped around forms. This process allows me to create any shape within the limits of the materials while giving me the flexibility to inlay colours using well practised techniques." Artisan "" Artisan "| Yellow Broom | Lighting , Product Design + Fabrication Creators of bespoke design based utilitarian piece. We are a two person collaboration based within the Cairngorms National Park in the Scottish Highlands . Valuing simplicity and quality craftsmanship each separate Yellow Broom product is meticulously crafted by hand placing a strong emphasis upon the design and making process. Consciously blending visual art, craft and design Yellow Broom aim to create clarity , harmony and value to object, user and viewer through considered material procurement and application. Applying a considered combination of narrative and craftsmanship YB pair traditional making techniques such as steam bending and wood turning with modern construction methods presenting a clean contemporary minimal aesthetic resulting in high quality, functional, slow crafted objects for the conscientious. In support of a circular economy model sustainability is at the core of our entire practice. We are sensitive to our environmental impact and responsibilities as Scottish based designer\/ makers. Our products are created from locally sourced materials and we proudly work with a Zero waste approach making. As well as exhibiting both nationally and internationally Yellow Broom actively work with architects and interior designers. We enjoy and encourage working with clients on bespoke commissions and creative projects both domestic and commercial. | BA (Hons) | Professional member of Visual Arts Scotland | Affiliated Member of Crafts Scotland | Professional member of Applied Arts Scotland | Scottish Artist Union | Inches Carr Award winners 2019 | Board member and Vice Chair Applied Arts Scotland | Advisory board representative for Craft Scotland | Craft Development network sector representative | Freelance Creative project Manager |Publications & Features | Elle Decoration| | Elle Country | Homes and interiors | Vogue | The Guardian | Modern Rustic| | Country Living | Scotland on Sunday | Herald | | Scotsman | | FX Magazine | Financial Times |" Artisan "| Yellow Broom | Lighting , Product Design + Fabrication Creators of bespoke design based utilitarian piece. We are a two person collaboration based within the Cairngorms National Park in the Scottish Highlands . Valuing simplicity and quality craftsmanship each separate Yellow Broom product is meticulously crafted by hand placing a strong emphasis upon the design and making process. Consciously blending visual art, craft and design Yellow Broom aim to create clarity , harmony and value to object, user and viewer through considered material procurement and application. Applying a considered combination of narrative and craftsmanship YB pair traditional making techniques such as steam bending and wood turning with modern construction methods presenting a clean contemporary minimal aesthetic resulting in high quality, functional, slow crafted objects for the conscientious. In support of a circular economy model sustainability is at the core of our entire practice. We are sensitive to our environmental impact and responsibilities as Scottish based designer\/ makers. Our products are created from locally sourced materials and we proudly work with a Zero waste approach making. As well as exhibiting both nationally and internationally Yellow Broom actively work with architects and interior designers. We enjoy and encourage working with clients on bespoke commissions and creative projects both domestic and commercial. | BA (Hons) | Professional member of Visual Arts Scotland | Affiliated Member of Crafts Scotland | Professional member of Applied Arts Scotland | Scottish Artist Union | Inches Carr Award winners 2019 | Board member and Vice Chair Applied Arts Scotland | Advisory board representative for Craft Scotland | Craft Development network sector representative | Freelance Creative project Manager |Publications & Features | Elle Decoration| | Elle Country | Homes and interiors | Vogue | The Guardian | Modern Rustic| | Country Living | Scotland on Sunday | Herald | | Scotsman | | FX Magazine | Financial Times |" Artisan "" Movable Heritage "A wood working chisel with dark wooden handle and steel chisel. " Movable Heritage "Traditional wooden clinker built by " Movable Heritage "A Gas fired Kiln" Movable Heritage "" Movable Heritage "Artist Residencies are coordinated excursions in which artists of various disciplines from music, craft or visual practices are hosted at different venues to take time to reflect, discuss, inspire and be inspired to create new work. They are a method of networkng and social enrichment for both the artists that travel into and through communities and for the people within those communities that host the artists and share their way of life. Jon Macleod facilitates residency programmes for the local arts centre in Stornoway \u2013 An Lanntair (The Lighthouse). This involves securing funding for the programmes and then the selection of particpants and mangement of the residency experiences. This cultural practice has evolved over the decades and Muir is Tir \u2013 The Land and the Sea , is one such residency. " Intangable Heritage "" Artisan "" Artisan "" Artisan "The museum has a \u2018Feis Room\u2019 as a learning and performing art space for Gaelic culture including music, drama, art and storytelling.\r\n\r\nThere\u2019s also an open-access archive containing maps, documents and photographs telling South Uist\u2019s story. This archive contains material provenanced to Margaret Fay Shaw, a prolific collector of Gaelic culture.\r\n\r\nKildonan Museum is run by a partnership between Comann Eachdraidh Uibhist a Deas (South Uist Historical Society) and Urras Eachdraidh Uibhist a Deas (South Uist Historical Trust) (SC016426)." Immovable Heritage "The museum has a \u2018Feis Room\u2019 as a learning and performing art space for Gaelic culture including music, drama, art and storytelling.\r\n\r\nThere\u2019s also an open-access archive containing maps, documents and photographs telling South Uist\u2019s story. This archive contains material provenanced to Margaret Fay Shaw, a prolific collector of Gaelic culture.\r\n\r\nKildonan Museum is run by a partnership between Comann Eachdraidh Uibhist a Deas (South Uist Historical Society) and Urras Eachdraidh Uibhist a Deas (South Uist Historical Trust) (SC016426)." Immovable Heritage "Timespan is a cultural organisation in Helmsdale, a village in the very north east of the Scottish Highlands, with local, global and planetary ambitions to weaponise culture for social change. Timespan is a place for art, research, heritage, local history, future propositions and action. We believe that cultural institutions are a political and public space which belong to society, and as such, have a responsibility to shape a brighter new world based on principles of equality, emancipation and inclusion.\r\n\r\nComprised of a local history museum, contemporary art programme, geology and herb gardens, shop, bakery and cafe, we take a holistic and integrated approach to our programme and organisation so all elements of what we do and are, service our civic and political agendas \u2013 to make art and heritage work meaningfully for our constituents and village and as tools for global cultural and social change." Immovable Heritage "Timespan is a cultural organisation in Helmsdale, a village in the very north east of the Scottish Highlands, with local, global and planetary ambitions to weaponise culture for social change. Timespan is a place for art, research, heritage, local history, future propositions and action. We believe that cultural institutions are a political and public space which belong to society, and as such, have a responsibility to shape a brighter new world based on principles of equality, emancipation and inclusion.\r\n\r\nComprised of a local history museum, contemporary art programme, geology and herb gardens, shop, bakery and cafe, we take a holistic and integrated approach to our programme and organisation so all elements of what we do and are, service our civic and political agendas \u2013 to make art and heritage work meaningfully for our constituents and village and as tools for global cultural and social change." Immovable Heritage "Carol Sinclair is an artist and maker living and working in Forfar, Scotland. She creates one-off ceramics and up-cycled material installations for exhibitions. Her inspiration comes from the global issues, colours, textures and shapes in the world. \r\nShe works with galleries and retail outlets to create one off pieces and limited edition collections. She also works as a consultant for arts organisations, undertaking creative projects at home and internationally. " Immovable Heritage "Artisan cloth made in Scotland. Bespoke lengths and limited edition production of handcrafted Saxony cloth for tailors, designers and small businesses." Immovable Heritage "Artisan cloth made in Scotland. Bespoke lengths and limited edition production of handcrafted Saxony cloth for tailors, designers and small businesses." Immovable Heritage "The Calanais Standing Stones are an extraordinary cross-shaped setting of stones erected 5,000 years ago. They predate England\u2019s famous Stonehenge monument, and were an important place for ritual activity for at least 2,000 years.\r\n\r\nWe don\u2019t know why the standing stones at Calanais were erected, but our best guess is that it was a kind of astronomical observatory." Immovable Heritage "The Calanais Standing Stones are an extraordinary cross-shaped setting of stones erected 5,000 years ago. They predate England\u2019s famous Stonehenge monument, and were an important place for ritual activity for at least 2,000 years.\r\n\r\nWe don\u2019t know why the standing stones at Calanais were erected, but our best guess is that it was a kind of astronomical observatory." Immovable Heritage "Borgh Pottery is a working studio overlooking the Atlantic ocean on the Isle of Lewis. For five decades Sue Blair has made unique ceramics interpreting the raw elements of the landscape in simple, striking forms. At the heart of the building is the potter\u2019s wheel, where Sue makes mostly functional pieces. The completed pots are displayed in the studio shop, along with a carefully curated range of other products. The studio shop is the only place where Borgh Pottery is sold." Immovable Heritage "Borgh Pottery is a working studio overlooking the Atlantic ocean on the Isle of Lewis. For five decades Sue Blair has made unique ceramics interpreting the raw elements of the landscape in simple, striking forms. At the heart of the building is the potter\u2019s wheel, where Sue makes mostly functional pieces. The completed pots are displayed in the studio shop, along with a carefully curated range of other products. The studio shop is the only place where Borgh Pottery is sold." Immovable Heritage "The Isle of Harris Distillery was started in 2015 as a sustainable future-proof method of creating jobs and opportunities in Lewis and Harris. It is an attractive opportunity for young generations to return back to their Hebridean homes, countering the long-term decline in population on the island. Both gin and whisky are produced here." Immovable Heritage "Creators of handcrafted utilitarian lighting and product design & fabrication." Immovable Heritage "Creators of handcrafted utilitarian lighting and product design & fabrication." Immovable Heritage "360 degree video of Mark Stockl working on the underside of a boat in his boat shed in Loggie, Ullapool, Scotland." video/mp4 Netty Sopata Panorama "The Butt of Lewis Lighthouse is situated on the Isle of Lewis in the Outer Hebrides. It was engineered by David Stevenson in 1862. The station\u2019s claim to fame, according to the Guinness Book of Records, is that it is the windiest spot in the UK." Immovable Heritage "The Clan MacQuarrie Community Centre is available for event hiring and is run entirely by community volunteers." Immovable Heritage "" Immovable Heritage "St Andrew's Castle is a ruin located in the coastal Royal Burgh of St Andrews in Fife, Scotland. The castle sits on a rocky promontory overlooking a small beach called Castle Sands and the adjoining North Sea. Property of Historic Environment Scotland (HES)." Immovable Heritage "" Rural Spot "" Rural Spot "For many hundreds of years Unst has lain in the midst of one of the richest fishing grounds in the world. The small wooden boats fished for cod and ling which were cleaned, split, salted and dried on the stony beaches. The dried fish were then shipped abroad in massive quantities. Boats like the sixereen \u2018FAR HAAF\u2019 were capable of fishing thirty miles off shore., while sturdy fourereens fished nearer the coast. With the onset of sudden storms there were disastrous results." Immovable Heritage "For many hundreds of years Unst has lain in the midst of one of the richest fishing grounds in the world. The small wooden boats fished for cod and ling which were cleaned, split, salted and dried on the stony beaches. The dried fish were then shipped abroad in massive quantities. Boats like the sixereen \u2018FAR HAAF\u2019 were capable of fishing thirty miles off shore., while sturdy fourereens fished nearer the coast. With the onset of sudden storms there were disastrous results." Immovable Heritage "Welcome to the former Royal Navy base at Lyness, Hoy. The Base lies at the heart of Scapa Flow, which provides an enormous sheltered anchorage, in a commanding position from which to control the North Sea and the North Atlantic. Scapa Flow was the base for the Navy\u2019s Grand Fleet in WW1, and again for the (renames) Home Fleet in WW11." Immovable Heritage "Dunscaith, Skye's oldest castle is situated north of Tarskavaig by the township of Tokavaig. It was a Norse stronghold, and then a MacLeod castle until taken by MacDonald's in 1266. It was the principle stronghold of the MacDonald's of Sleat until the early 1600's." Immovable Heritage "" Movable Heritage "" Movable Heritage "" Movable Heritage "A wooden skiff (sgoth in Scottish Gaelic) traditional crafted in and for the waters around Ness, Isle of Lewis, Outer Hebrides of Scotland. The boats were traditional fishing boats, particularly for line fishing, during the 19th century and until the early half of the twentieth century. Crafted by Matt Stokl, boatbuilder located in Ullapool, who is one of a few which specialise in building sgoths. " Movable Heritage "" Movable Heritage "" Movable Heritage " A green, hand-thrown mug, with handle, made by potter Sue Blair (AAS_PR_001) of Borve Pottery." Movable Heritage "" Artisan "" Movable Heritage "" Movable Heritage "Wooden, dipping lug sailing boat traditionally used for fishing in the sea areas surrounding the Hebrides. " Movable Heritage "Woollen cloth handwoven on a single width Hattersley Loom by a weaver in the Isle of Harris. The wool used in this cloth comes from a flock of Hebridean sheep owned by AAS_PR_06. After shearing it was washed, carded and spun at Uist Wool micro-mill and then woven into Harris Tweed. " Movable Heritage "" Artisan "Amy is a jeweller and creative practitioner whose work bridges art, ecology, and personal storytelling. Initially drawn to both the arts and sciences, she studied Jewellery & Silversmithing before dividing her time between marine conservation work around the world and developing her jewellery practice in Edinburgh.\r\n\r\nLater settling with her husband in the Cairngorms National Park, Amy established a home, jewellery studio, gallery, and workshop space alongside a luxury garden cabin for visitors. Her practice evolved organically from commissions created for friends and families seeking meaningful, personal pieces to mark marriages, birthdays, and other significant moments.\r\n\r\nAmy\u2019s work is rooted in collaboration, drawing on themes of personal history, ecology, and philosophy. She frequently works with inherited or family gold, melting and reforming it into contemporary designs using traditional techniques. Many of her pieces incorporate contour lines and landscapes connected to the stories and places that hold significance for her clients.\r\n\r\nLiving and working in a rural environment has also shaped Amy\u2019s interest in cultural sustainability and the relationship between creative practice and tourism. Together with her husband, she views their decision to build a livelihood as artists in the Highlands as both a leap of faith and an ongoing opportunity to connect with and learn from creative communities around the world." Artisan "Amy is a jeweller and creative practitioner whose work bridges art, ecology, and personal storytelling. Initially drawn to both the arts and sciences, she studied Jewellery & Silversmithing before dividing her time between marine conservation work around the world and developing her jewellery practice in Edinburgh.\r\n\r\nLater settling with her husband in the Cairngorms National Park, Amy established a home, jewellery studio, gallery, and workshop space alongside a luxury garden cabin for visitors. Her practice evolved organically from commissions created for friends and families seeking meaningful, personal pieces to mark marriages, birthdays, and other significant moments.\r\n\r\nAmy\u2019s work is rooted in collaboration, drawing on themes of personal history, ecology, and philosophy. She frequently works with inherited or family gold, melting and reforming it into contemporary designs using traditional techniques. Many of her pieces incorporate contour lines and landscapes connected to the stories and places that hold significance for her clients.\r\n\r\nLiving and working in a rural environment has also shaped Amy\u2019s interest in cultural sustainability and the relationship between creative practice and tourism. Together with her husband, she views their decision to build a livelihood as artists in the Highlands as both a leap of faith and an ongoing opportunity to connect with and learn from creative communities around the world." Artisan "Eagle brooch made out of recycled silver, created by Amy Ferguson Niven from The Third Aye." image/png Catherine Anne Cassidy Image "Photo of Amy Ferguson Niven of The Third Aye, a jeweller working with recycled silver and gold, located in the Cairngorms National Park, Scotland." image/png Image "I am a textile artist and designer with a rural studio on the edge of Banchory in North East Scotland. I work primarily with hand woven textiles which explore the relationships between place, material, and memory. My practice blends heritage weaving techniques with contemporary digital design, using natural fibres and sustainable processes to create site-specific capsule collections, artworks, and commissions.\r\nRooted in a respect for traditional craft, my work is often inspired by the landscapes and seascapes that surround me. I incorporate natural dyeing, hand-weaving on multi-shaft looms, and a self-taught tapestry approach, building layered textile compositions that echo the textures, rhythms, and stories of place.\r\nSince launching Arra Textiles in 2016, I have developed collections for home and body, exhibited nationally and internationally and taken part in a residency which continue to shape how I make and think. Sustainability is central to my practice and I am currently transitioning toward a fully traceable and locally grounded studio model, connecting materials back to land and process.\r\nI see textiles as both a sensory and narrative medium. My practice is driven by curiosity, care for materials and a desire to create work which invites a closer look." Artisan "A recycled silver eagle brooch with topography details of the Cairngorm National Park, created by Amy Ferguson Niven. " Movable Heritage "Patricia Shone has lived and worked on the Isle of Skye for the past 30 years. She was born in Scotland and grew up in South Devon where she met clay at school. After studying ceramics in London, finances and a love of cooking led her into work as a chef both there and in Italy. Eventually, this took her to Skye where she returned to making pots.\r\n\u201cMy work has developed in a kind of isolation both in location and in the methods I use to form my pieces. This is a place where I can feel small and insignificant in the face of monumental natural forces. It is a feeling I rejoice in, when the only possible way to contain the enormity of love for life is to utterly surrender to it.\r\nThe feel of raw clay in my hands is a prime motivation for making, a physical connection to the physical world around me. It\u2019s a visceral process, not always comfortable, often challenging and increasingly tiring. My work is hand formed in all aspects of its concept and creation. It is based on the controlled forms of functional vessels whilst being released from the constraints of function by the ruptured textured surfaces. I am looking for the points of contact and balance between the maker and the material, neither having mastery over the other. I have learned to give precedence to the physical process over and above intellectual input, giving voice to my inner and non verbal senses.\r\nThe formation of clay is mostly from millennia of climatic erosion. The origins of the material lie in the enduring rock beneath our feet. The processes of firing that a potter uses to complete their work replicate some of the monumental forces which create and erode the matter of the universe. It\u2019s big stuff! The nature of clay used in this way allows me to speak of the continued erosion and weathering of the land we live on; the traces made by the passage of humans across the surface of our planet; the tensions between the container and its contents.\u201d\r\nPatricia has developed techniques in her clay work which reflect these processes. Contrary to the compressive methods associated with traditional clay practice, her pieces are hand formed by texturing and stretching from solid lumps of clay. This process extenuates the surfaces allowing the natural textures of the material to develop. The muted, natural colours of the finished pots are achieved by using different clay bodies and by the various firing processes.\r\nShe has been a selected member of the Craft Potters\u2019 Association of Great Britain since 2015, her work is collected internationally and she has work in several national and International collections." Artisan "A photo of a grey earthenware bowl made by Patricia Shone from the Isle of Skye, Scotland. " image/jpeg Catherine Anne Cassidy Image "Aaron Sterritt lives and works in Scotland within the Cairngorms National Park. \u200bAaron Sterritt Woodwork creates contemporary pieces that are inspired by the natural characteristics of the wood in which he works. It takes creative imagination to visualise a tree transformed into a stunning individual piece of art, sculpture or furniture. That is what Aaron Sterritt does on a daily basis.\r\nAaron\u2019s creativity and relationship with wood is in his DNA. Raised in a log cabin in the heart of the Scottish Highlands \u2013 Aaron was born to work with wood.\r\nAaron\u2019s understanding of wood and how he stamps his personality on it is totally focused on shaping and crafting wood in a natural way. Splitting the wood along the cells of the grain, keeping the strength of the timber intact, creating beautiful natural shapes.\r\nAaron\u2019s skill is then to take the split wood and form it into a piece of furniture or sculpture that are one off creations. This is done by the axe; shave horse, drawknife and spoke shave tools.\r\nThe end result is a combination of creativity, a deep understanding of wood and the craftsmanship skills to create truly beautiful functional and decorative items.\r\nAaron runs green woodworking workshops at his workshop outside Forres, Scotland. Green woodworking is a traditional practice using fresh wood still full of sap allowing the tools to split, slice, shave and cleave through the wood with ease. He uses techniques that have been developed over hundreds of years, that are in harmony with the nature and qualities of the wood itself. No prior wood working experience is necessary, courses are for all abilities.\r\n" Artisan "In the heart of the Scottish Highlands, Anja Baak's small family-run business The Great Glen Charcuterie specialises in handcrafted charcuterie made using the finest Scottish venison. Based in the village of Roy Bridge, the business is rooted in a deep respect for the landscape, local ingredients, and traditional craftsmanship.\r\n\r\nOriginally from The Netherlands, Anja moved to Scotland more than 20 years ago after falling in love with the country\u2019s rugged beauty and exceptional natural produce. Her passion for venison began while living on a Highland estate, where she and Jan Jacobs became closely connected to the sustainable management of the local wild deer population. Inspired by the quality and flavour of the meat, she started experimenting with smoking and curing venison at home using a hand-built smoker in the garden.\r\n\r\nWhat began as a passion shared with family and friends soon grew into a dedicated artisan business, producing distinctive smoked and cured venison charcuterie that celebrates the rich flavours and traditions of the Highlands." Artisan "In the heart of the Scottish Highlands, Anja Baak's small family-run business The Great Glen Charcuterie specialises in handcrafted charcuterie made using the finest Scottish venison. Based in the village of Roy Bridge, the business is rooted in a deep respect for the landscape, local ingredients, and traditional craftsmanship.\r\n\r\nOriginally from The Netherlands, Anja moved to Scotland more than 20 years ago after falling in love with the country\u2019s rugged beauty and exceptional natural produce. Her passion for venison began while living on a Highland estate, where she and Jan Jacobs became closely connected to the sustainable management of the local wild deer population. Inspired by the quality and flavour of the meat, she started experimenting with smoking and curing venison at home using a hand-built smoker in the garden.\r\n\r\nWhat began as a passion shared with family and friends soon grew into a dedicated artisan business, producing distinctive smoked and cured venison charcuterie that celebrates the rich flavours and traditions of the Highlands." Artisan "" Catherine Anne Cassidy 3D Object "" Catherine Anne Cassidy 3D Object "Will Boyd-Wallis is a Highland-based singer-songwriter, woodworker, ecologist, and land manager whose music is deeply rooted in the landscapes, wildlife, and communities of Scotland\u2019s Highlands and islands. Performing under the name Greenshanks, his songs are passionate, poignant, and hopeful reflections on life, love, and restoration, shaped by a lifelong connection to the natural world.\r\n\r\nUsing rich open tunings on his well-travelled guitalele and acoustic guitar, Will creates a distinctive sound that complements his reflective, soulful vocals. A finalist at the 2023 Danny Kyle Open Stage during Celtic Connections in Glasgow, he has performed alongside some of Scotland\u2019s most respected musicians and songwriters.\r\n\r\nAlongside songwriting, woodwork provides another important creative outlet. From beautifully functional pieces to eccentric creations that are aesthetically joyful yet delightfully pointless, much of Will\u2019s work is carved or turned outdoors using a traditional foot-powered pole lathe, reflecting his connection to craftsmanship, sustainability, and the natural world." Artisan "Will Boyd-Wallis is a Highland-based singer-songwriter, woodworker, ecologist, and land manager whose music is deeply rooted in the landscapes, wildlife, and communities of Scotland\u2019s Highlands and islands. Performing under the name Greenshanks, his songs are passionate, poignant, and hopeful reflections on life, love, and restoration, shaped by a lifelong connection to the natural world.\r\n\r\nUsing rich open tunings on his well-travelled guitalele and acoustic guitar, Will creates a distinctive sound that complements his reflective, soulful vocals. A finalist at the 2023 Danny Kyle Open Stage during Celtic Connections in Glasgow, he has performed alongside some of Scotland\u2019s most respected musicians and songwriters.\r\n\r\nAlongside songwriting, woodwork provides another important creative outlet. From beautifully functional pieces to eccentric creations that are aesthetically joyful yet delightfully pointless, much of Will\u2019s work is carved or turned outdoors using a traditional foot-powered pole lathe, reflecting his connection to craftsmanship, sustainability, and the natural world." Artisan "Sarah Hobbs is a mountain lover, storyteller, and quiet explorer whose journey has taken her from Derbyshire through Norway, Egypt, and London before settling in the Scottish Highlands. Now based in Aviemore, she is deeply inspired by the landscapes, people, and reindeer of the Highlands, which continue to shape both her personal and creative life.\r\n\r\nA fascination with hill placenames led Sarah to begin learning Scottish Gaelic, opening the door to a rich world of stories, songs, and cultural traditions connected to the land and its communities. These influences are woven into her walks and storytelling, with a particular affection for Gaelic working songs \u2014 \u00f2rain obrach \u2014 and the informal tradition of shared songs and stories around the pub table.\r\n\r\nThroughout her career, Sarah has worked with communities to uncover hidden narratives and amplify overlooked voices as a way of creating social change. Her work has addressed systemic inequalities in health and education across the UK, and she has also organised cultural expeditions for young people to the Middle East and South Asia, encouraging peer-to-peer learning beyond stereotypes.\r\n\r\nHer walks, as Strathspey Storywalks, continue this ethos, exploring hidden gems and untold stories embedded within the landscape \u2014 stories that are often forgotten, silenced, or overlooked. At the heart of her work is a desire to place stories back where they belong, reconnecting people with the land and skyscape through a process of \u201cre-storying\u201d place. The walks evolve with the seasons and with Sarah\u2019s own changing interests, creating experiences that are rooted in curiosity, connection, and discovery." Artisan "Sarah Hobbs is a mountain lover, storyteller, and quiet explorer whose journey has taken her from Derbyshire through Norway, Egypt, and London before settling in the Scottish Highlands. Now based in Aviemore, she is deeply inspired by the landscapes, people, and reindeer of the Highlands, which continue to shape both her personal and creative life.\r\n\r\nA fascination with hill placenames led Sarah to begin learning Scottish Gaelic, opening the door to a rich world of stories, songs, and cultural traditions connected to the land and its communities. These influences are woven into her walks and storytelling, with a particular affection for Gaelic working songs \u2014 \u00f2rain obrach \u2014 and the informal tradition of shared songs and stories around the pub table.\r\n\r\nThroughout her career, Sarah has worked with communities to uncover hidden narratives and amplify overlooked voices as a way of creating social change. Her work has addressed systemic inequalities in health and education across the UK, and she has also organised cultural expeditions for young people to the Middle East and South Asia, encouraging peer-to-peer learning beyond stereotypes.\r\n\r\nHer walks, as Strathspey Storywalks, continue this ethos, exploring hidden gems and untold stories embedded within the landscape \u2014 stories that are often forgotten, silenced, or overlooked. At the heart of her work is a desire to place stories back where they belong, reconnecting people with the land and skyscape through a process of \u201cre-storying\u201d place. The walks evolve with the seasons and with Sarah\u2019s own changing interests, creating experiences that are rooted in curiosity, connection, and discovery." Artisan "Back in the 1980\u2019s, as part of a teacher training degree, Louise studied ceramics under the direction of Brian Dewberry and quickly progressed to wheel thrown work which became a consuming and engaging lifetime passion. Being unable to concentrate wholly on making pottery for a living, Louise set out on a career in education that included teaching, management and curriculum development of arts and crafts in a range of schools and community settings. She never lost sight of her commitment to making and over the years ensured that her skills were further developed on courses led by many eminent potters in the world of British Studio ceramics; John Leach, Josie Walter, Kyra Kane, Sebastian Blackie, Andy Mason, David and Margaret Frith, Matthew Blakeley, Nic Collins, David Roberts, Patricia Shone to name but a few and to whom she is indebted to their generosity in sharing their expertise. \r\n\r\nIn 1997 a small workshop was established in Derbyshire where Louise began to develop her own style and processes in the making of wheel thrown domestic stoneware, but the limitations of a small shed became evident and the move to a more appropriate venue in Scotland, with space for the proposed wood burning kiln, happened in 2006. A bigger studio enabled a bigger output and the development of simple white porcelain proved popular with the buying public. This was encouraging, but the commitment to build the wood fired kiln went through a number of processes before finally settling on a design with support from Fergus Stewart, a brilliant potter on the west coast at Lochinver. The successful first and subsequent firings since 2019 have ensured the next chapter in the development of Ard Beag Ceramics and a determination to produce good quality, handmade, functional pottery through the exciting and tenuously manageable medium of fire. " Artisan "Back in the 1980\u2019s, as part of a teacher training degree, Louise studied ceramics under the direction of Brian Dewberry and quickly progressed to wheel thrown work which became a consuming and engaging lifetime passion. Being unable to concentrate wholly on making pottery for a living, Louise set out on a career in education that included teaching, management and curriculum development of arts and crafts in a range of schools and community settings. She never lost sight of her commitment to making and over the years ensured that her skills were further developed on courses led by many eminent potters in the world of British Studio ceramics; John Leach, Josie Walter, Kyra Kane, Sebastian Blackie, Andy Mason, David and Margaret Frith, Matthew Blakeley, Nic Collins, David Roberts, Patricia Shone to name but a few and to whom she is indebted to their generosity in sharing their expertise. \r\n\r\nIn 1997 a small workshop was established in Derbyshire where Louise began to develop her own style and processes in the making of wheel thrown domestic stoneware, but the limitations of a small shed became evident and the move to a more appropriate venue in Scotland, with space for the proposed wood burning kiln, happened in 2006. A bigger studio enabled a bigger output and the development of simple white porcelain proved popular with the buying public. This was encouraging, but the commitment to build the wood fired kiln went through a number of processes before finally settling on a design with support from Fergus Stewart, a brilliant potter on the west coast at Lochinver. The successful first and subsequent firings since 2019 have ensured the next chapter in the development of Ard Beag Ceramics and a determination to produce good quality, handmade, functional pottery through the exciting and tenuously manageable medium of fire. " Artisan "Simon first handled clay at school and while this early work showed great promise in execution and design, the opportunity to further develop his innate skillset always seemed to take second place to his first great passion, rock climbing. Simon has climbed all over the world and on many different rock types and has a huge affinity to surface detail, nuance of pattern and textured features. His photographic skills have recorded many of these landscapes over the years and Simon\u2019s reputation for good composition in published photographic works was always going to translate into clay, just as soon as he was prepared to sit down for long enough to start making. This happened in earnest during \u2018lockdown\u2019 and he has not looked back. Simon is quickly mastering skills required for repetition throwing and is selling well. Simon\u2019s practical interest in firing the kiln as well as an enthusiasm to experiment with locally dug clays in slip decoration will ensure that Ard Beag Ceramics is home to two unique potters, " Artisan "Simon first handled clay at school and while this early work showed great promise in execution and design, the opportunity to further develop his innate skillset always seemed to take second place to his first great passion, rock climbing. Simon has climbed all over the world and on many different rock types and has a huge affinity to surface detail, nuance of pattern and textured features. His photographic skills have recorded many of these landscapes over the years and Simon\u2019s reputation for good composition in published photographic works was always going to translate into clay, just as soon as he was prepared to sit down for long enough to start making. This happened in earnest during \u2018lockdown\u2019 and he has not looked back. Simon is quickly mastering skills required for repetition throwing and is selling well. Simon\u2019s practical interest in firing the kiln as well as an enthusiasm to experiment with locally dug clays in slip decoration will ensure that Ard Beag Ceramics is home to two unique potters, " Artisan "Ursula Hargreaves is a ceramic artist based in Brora in the Scottish Highlands and the maker behind Two Deer Ceramics. Her work is deeply inspired by the surrounding landscape and wildlife, which is reflected in her distinctive, small-batch pieces. She creates expressive, often one-of-a-kind animal sculptures alongside decorative, food-safe pieces. Combining traditional craftsmanship with a contemporary, artistic style, her ceramics capture a strong sense of place and whimsy." Artisan "Donna Sutherland is a fibre artist from Thurso in the far north of Scotland, known for her characterful felted creations under the name Donna\u2019s Crafts. She specialises in needle felting both detailed picture scenes and charming three-dimensional animals, bringing warmth and storytelling into each piece. Affectionately known as the \u201cmouse mum,\u201d Donna is especially recognised for her tiny felted mice, often depicted in imaginative everyday scenes that capture humour, personality, and a strong sense of narrative. Her work combines careful craftsmanship with a playful, creative spirit, making each piece both unique and full of life." Artisan "Mike Carter of Engelwoodstine is a woodworker based in the north\u2011east Highlands of Scotland, creating distinctive pieces from materials gathered along the rugged coastline. Drawing inspiration from the textures, forms, and histories shaped by sea and weather, their work transforms found wood into one\u2011of\u2011a\u2011kind artworks. Each piece reflects a deep connection to place, with driftwood and reclaimed fragments reimagined into sculptural forms that highlight the natural character of the material. Blending craftsmanship with an organic, expressive style, Mike Carter\u2019s work captures the raw beauty of the Highland coast and gives new life to what the tide leaves behind." Artisan "Suzie MacKenzie studied Fine Art as a mature student at the University of Loughborough, before returning to the northern Highlands of Scotland where she now lives and works. In 2013 she attended a series of workshops at the Highland Print Studio in Inverness which rekindled her interest in collagraph, and since that time has predominantly worked in the medium. Suzie draws on her previous career as a teacher as well as her printmaking experience to teach occasional workshops, and has been involved in delivering projects to local community groups. She has described her process for Jackson's Art blog and AccessArt, and has written a book on the subject entitled Making Collagraph Prints, published by The Crowood Press in May 2019. She is a member of the Society of Scottish Artists and has recently completed a Master of Arts degree with Distinction in Contemporary Art and Archaeology at the University of the Highlands and Islands.\r\n\r\nSuzie\u2019s work has been exhibited nationally and internationally and can be seen in exhibitions, galleries and at print fairs across Scotland and the north of England. She has had collagraph prints selected for the Center for Contemporary Printmaking's Tenth Biennial International Miniature Print Exhibition in 2015, Royal Birmingham Society of Artists\u2019 biennial Print Prize Exhibition in 2014 and 2016, the Society of Scottish Artists\u2019 118th and 119th Annual Exhibitions, and was invited to exhibit in the Master Printmakers show at Leeds Craft Centre and Design Gallery in 2017. In 2022 she was awarded a commission by the Royal Society of Antiquaries of Scotland, working with Archaeology Shetland to create an artwork on the theme of climate change archaeology. Her work is held in private collections in UK, Europe, North America and Australasia." Artisan "Suzie MacKenzie studied Fine Art as a mature student at the University of Loughborough, before returning to the northern Highlands of Scotland where she now lives and works. In 2013 she attended a series of workshops at the Highland Print Studio in Inverness which rekindled her interest in collagraph, and since that time has predominantly worked in the medium. Suzie draws on her previous career as a teacher as well as her printmaking experience to teach occasional workshops, and has been involved in delivering projects to local community groups. She has described her process for Jackson's Art blog and AccessArt, and has written a book on the subject entitled Making Collagraph Prints, published by The Crowood Press in May 2019. She is a member of the Society of Scottish Artists and has recently completed a Master of Arts degree with Distinction in Contemporary Art and Archaeology at the University of the Highlands and Islands.\r\n\r\nSuzie\u2019s work has been exhibited nationally and internationally and can be seen in exhibitions, galleries and at print fairs across Scotland and the north of England. She has had collagraph prints selected for the Center for Contemporary Printmaking's Tenth Biennial International Miniature Print Exhibition in 2015, Royal Birmingham Society of Artists\u2019 biennial Print Prize Exhibition in 2014 and 2016, the Society of Scottish Artists\u2019 118th and 119th Annual Exhibitions, and was invited to exhibit in the Master Printmakers show at Leeds Craft Centre and Design Gallery in 2017. In 2022 she was awarded a commission by the Royal Society of Antiquaries of Scotland, working with Archaeology Shetland to create an artwork on the theme of climate change archaeology. Her work is held in private collections in UK, Europe, North America and Australasia." Artisan "Helmsdale Pottery was a distinctive Scottish studio pottery founded in 1973 by David and Penny Woodley in the Highland village of Helmsdale, Sutherland. The pottery became well known for its handcrafted porcelain animal sculptures, especially birds, owls, ducks, puffins, hares, and other wildlife inspired by the rugged Scottish landscape. \r\n\r\nPenny Woodley was not only a ceramic artist but also an active member of the Helmsdale community, a previous director of Timespan Museum. Together, David and Penny Woodley developed a recognizable artistic style that reflected the wildlife and coastal environment of the Scottish Highlands and gained a loyal following among collectors of British studio pottery.\r\n\r\nSince their retirement, Helmsdale Pottery pieces remain collectible examples of late twentieth-century Scottish art pottery. Vintage examples regularly appear in auctions, antique shops, and collectors\u2019 markets, admired for their craftsmanship, individuality, and connection to Highland artistic traditions." Artisan "Helmsdale Pottery was a distinctive Scottish studio pottery founded in 1973 by David and Penny Woodley in the Highland village of Helmsdale, Sutherland. The pottery became well known for its handcrafted porcelain animal sculptures, especially birds, owls, ducks, puffins, hares, and other wildlife inspired by the rugged Scottish landscape.\r\n\r\nPenny Woodley was not only a ceramic artist but also an active member of the Helmsdale community, a previous director of Timespan Museum. Together, David and Penny Woodley developed a recognizable artistic style that reflected the wildlife and coastal environment of the Scottish Highlands and gained a loyal following among collectors of British studio pottery.\r\n\r\nSince their retirement, Helmsdale Pottery pieces remain collectible examples of late twentieth-century Scottish art pottery. Vintage examples regularly appear in auctions, antique shops, and collectors\u2019 markets, admired for their craftsmanship, individuality, and connection to Highland artistic traditions." Artisan "I am Gabbie, the maker behind Wild by Nature and I can be found nestled in the heart of Brora in the Scottish Highlands. Wild by Nature was once my dream, so to be able to watch my dream grow has been an incredible journey.\r\n\r\nFrom formulating my very first products to now seeing others enjoy them has given me such a sense of personal achievement. I have been inspired by the wild beauty of the Scottish Highlands where I live and rugged Cornwall where I grew up and raised my own family.\r\n\r\nWild by Nature began with a simple idea. I wanted to create everyday Skin Care products that are made with quality ingredients that have been carefully chosen.\r\n\r\nEverything is made by hand using traditional methods. I work with natural oils, tallow, milk, beeswax and botanicals, choosing ingredients for how they feel on the skin rather than how they look on a shelf. Many of which are sourced locally from the Scottish Highlands. Including using honey and beeswax from mine or my friends beehives here in Brora.\r\n\r\nWild by Nature is shaped by my love of nature, slower living, and products that are made to be used. I endeavour to be considerate to the environment, it\u2019s not always easy. So much of my packaging can be recycled, composted or repurposed.\r\n\r\nI don't aim for perfection, but I do aim for honest simple recipes, using considered ingredient all of which are made in small batches.\r\n" Artisan "I am Gabbie, the maker behind Wild by Nature and I can be found nestled in the heart of Brora in the Scottish Highlands. Wild by Nature was once my dream, so to be able to watch my dream grow has been an incredible journey.\r\n\r\nFrom formulating my very first products to now seeing others enjoy them has given me such a sense of personal achievement. I have been inspired by the wild beauty of the Scottish Highlands where I live and rugged Cornwall where I grew up and raised my own family.\r\n\r\nWild by Nature began with a simple idea. I wanted to create everyday Skin Care products that are made with quality ingredients that have been carefully chosen.\r\n\r\nEverything is made by hand using traditional methods. I work with natural oils, tallow, milk, beeswax and botanicals, choosing ingredients for how they feel on the skin rather than how they look on a shelf. Many of which are sourced locally from the Scottish Highlands. Including using honey and beeswax from mine or my friends beehives here in Brora.\r\n\r\nWild by Nature is shaped by my love of nature, slower living, and products that are made to be used. I endeavour to be considerate to the environment, it\u2019s not always easy. So much of my packaging can be recycled, composted or repurposed.\r\n\r\nI don't aim for perfection, but I do aim for honest simple recipes, using considered ingredient all of which are made in small batches.\r\n" Artisan "" Artisan "A tour of photospheres submitted to Timespan's 58 degrees North challenge. These will be judged and 1st, 2nd and 3rd place winners will be selected." Tour "A tour of photospheres submitted to Timespan's 58 degrees North challenge. These will be judged and 1st, 2nd and 3rd place winners will be selected." Tour "Gallery and Workshop installation in Timespan Museum and Arts Centre, Sutherland. 2016." Tour "Gallery and Workshop installation in Timespan Museum and Arts Centre, Sutherland. 2016." Tour "A leather knitting belt in Timespan\u2019s collection. This belt was used for sewing and spinning and was sometimes worn by herring gutting girls while kntting jumpers." Movable Heritage "Hot pressing iron from Timespan\u2019s collection." Movable Heritage "Metal curry comb on a wooden turned handle with decorative bending and a metal loop at top. The flared arms attached to the surface of the comb has fine teeth at one edge and coarser teeth at the other end. Added to Timespan\u2019s collection in 1990." Movable Heritage "A "Tinkler" made metal can possibly used for milk or other liquid foodstuff. Dated early 20th century." Movable Heritage "Goffering iron - stand only, for ironing head and neck gear. Added to Timespan\u2019s collection in 1987." Movable Heritage "Fishermen used rope to haul their nets, hoist sales and drop anchors. It was a vital necessity abroad any fishing boat. Dated mid-20th century." Movable Heritage "A tool used for making and repairing nets. Early examples were made of wood or bone which was later replaced by plastic. Dated early-mid 20th century." Movable Heritage "A tool used to protect the hand when making or mending sails. It is made from leather and a pad of resin forms the thimble like head used to push a needle through the tough sail cloth. Dated early-mid-20th century." Movable Heritage "This flask was made by a cooper at the end of his apprenticeship and used the same woodworking skills that were required to make herring barrels. Twelve wooden staves were used to make the flask and six brass rings around the outside were used to hold the staves together. Dated. C1880." Movable Heritage "Shetlanders wore knitted hats when off fishing, and the the multicoloured patterns contrasted with the brown oilskins and boots they wore. Visitors to the islands two hundred years ago were much taken with these vivid caps, and bartered them from the fishermen \u2013 hence why they survive. Harvest from the Sea gallery TEX 7738" Movable Heritage "Part of the collection of the Unst Community Museum. For many hundreds of years Unst has been in the midst of one of the richest fishing grounds in the world. The small wooden boats fished for cod and ling which were cleaned, split, salted and dried on the stony beaches. The dried fish were then shipped abroad in massive quantities. Boats like the sixereen \u2018FAR HAAF\u2019 were capable of fishing thirty miles off shore., while sturdy fourereens fished nearer the coast. With the onset of sudden storms there were disastrous results." Movable Heritage "Part of the collection of the Unst Community Museum. For many hundreds of years Unst has been in the midst of one of the richest fishing grounds in the world. The small wooden boats fished for cod and ling which were cleaned, split, salted and dried on the stony beaches. The dried fish were then shipped abroad in massive quantities. Boats like the sixereen \u2018FAR HAAF\u2019 were capable of fishing thirty miles off shore., while sturdy fourereens fished nearer the coast. With the onset of sudden storms there were disastrous results." Movable Heritage "Part of the collection of the Unst Community Museum. For many hundreds of years Unst has been in the midst of one of the richest fishing grounds in the world. The small wooden boats fished for cod and ling which were cleaned, split, salted and dried on the stony beaches. The dried fish were then shipped abroad in massive quantities. Boats like the sixereen \u2018FAR HAAF\u2019 were capable of fishing thirty miles off shore., while sturdy fourereens fished nearer the coast. With the onset of sudden storms there were disastrous results." Movable Heritage "Part of the collection of the Unst Community Museum. For many hundreds of years Unst has been in the midst of one of the richest fishing grounds in the world. The small wooden boats fished for cod and ling which were cleaned, split, salted and dried on the stony beaches. The dried fish were then shipped abroad in massive quantities. Boats like the sixereen \u2018FAR HAAF\u2019 were capable of fishing thirty miles off shore., while sturdy fourereens fished nearer the coast. With the onset of sudden storms there were disastrous results." Movable Heritage "Part of the collection of the Unst Community Museum. For many hundreds of years Unst has been in the midst of one of the richest fishing grounds in the world. The small wooden boats fished for cod and ling which were cleaned, split, salted and dried on the stony beaches. The dried fish were then shipped abroad in massive quantities. Boats like the sixereen \u2018FAR HAAF\u2019 were capable of fishing thirty miles off shore., while sturdy fourereens fished nearer the coast. With the onset of sudden storms there were disastrous results." Movable Heritage "Part of the collection of the Unst Community Museum. For many hundreds of years Unst has been in the midst of one of the richest fishing grounds in the world. The small wooden boats fished for cod and ling which were cleaned, split, salted and dried on the stony beaches. The dried fish were then shipped abroad in massive quantities. Boats like the sixereen \u2018FAR HAAF\u2019 were capable of fishing thirty miles off shore., while sturdy fourereens fished nearer the coast. With the onset of sudden storms there were disastrous results." Movable Heritage "This beaker was found in a cist in a gravel knoll above the Nether Lochaber Hotel, Corran near Fort William in February 1889. It is very special as it dates to the Beaker period, around 4,000 years ago. The beaker was immersed in water when first found to prevent it disintegrating on exposure to the air. It promptly fell to pieces in the water and had to be reconstructed by the National Museum of Antiquities of Scotland. It was repaired with plaster of paris. The beaker was presented to Maclean of Ardgour and remained in the MacLean family until it was gifted to the West Highland Museum in 1990." Movable Heritage "Said to have been made more than 800 years ago, the Faery bagpipes of Kinlochmoidart, are very special as they are thought to be one of the oldest set of pipes in existence and the first with two holes, adding an extra sounding hole at the end of the chanter. The legend is that the MacIntyre piper made the pipes after he had a dream where a \u201cfaery\u201d came to him and told him to \u2018Heat up your poker until it\u2019s white hot and pierce the bottom of your chanter side to side and it will make the sweetest sound in Scotland.\u2019 The pipes were said to have been played at the Battle of Bannockburn in 1314 by MacIntyre, Clanranald's piper. The pipes are supposed to be enchanted and never been played by the losing side of a battle. Only the chanter now survives of the original, the blow-pipe, the drone and the tartan bag date from a later period. An engraved silver plate has also been added to the drone to commemorate the pipe\u2019s importance. When Macintyre's descendant emigrated to America early in the 19th century, the pipes were left in the care of Lieut. Colonel Donald Macdonald of the Royal Scots, 7th of Kinlochmoidart, so that they should not leave the Highlands. They are now on long term loan to the museum. In July 2018 the pipes were played at the Clan MacIntyre clan gathering. This was only the fourth time they had been played in 200 years. The video shows Ruaraidh Petre MacIntyre playing the pipes in Glenoe by Loch Etive, the ancestral lands of MacIntyres." Movable Heritage "This painting of skies near Mallaig was gifted to the West Highland Museum by the artist\u2019s widow Magda Salvesen in1994. Jon Schueler (1916\u20131992) was regarded as a member of the New York Abstract Expressionist school of art. He first visited Scotland in 1957 where he travelled to Lochaber. He felt inspired by the turbulent skies and set up a studio near Mallaig on the Sound of Sleat, a stretch of water that runs between the Scottish mainland and the Isle of Skye. Schueler lived at Romasaig for five years in the 1970s and returned most years until his death. Dramatic changes in weather conditions are common in the area and Schueler dramatically captures these in his paintings" Movable Heritage "During the nineteenth century the village of Helmsdale in Sutherland was one of the largest centres for herring fishing in Scotland. The village and harbour were built around 1818 as part of efforts at economic development by the Sutherland Estate. The new fishing port was intended to provide employment and housing for families who had been forcibly driven out from farms in the Kildonan area during the Highland clearances." Tour "During the nineteenth century the village of Helmsdale in Sutherland was one of the largest centres for herring fishing in Scotland. The village and harbour were built around 1818 as part of efforts at economic development by the Sutherland Estate. The new fishing port was intended to provide employment and housing for families who had been forcibly driven out from farms in the Kildonan area during the Highland clearances." Tour "Helmsdale, a fishing village on the North East coast of Scotland." Tour "Helmsdale, a fishing village on the North East coast of Scotland." Tour "St Andrew's Castle is a ruin located in the coastal Royal Burgh of St Andrews in Fife, Scotland. The castle sits on a rocky promontory overlooking a small beach called Castle Sands and the adjoining North Sea. Property of Historic Environment Scotland (HES)." Tour "St Andrew's Castle is a ruin located in the coastal Royal Burgh of St Andrews in Fife, Scotland. The castle sits on a rocky promontory overlooking a small beach called Castle Sands and the adjoining North Sea. Property of Historic Environment Scotland (HES)." Tour 56.75084054592727 -4.295654296875001