Living between Highland Perthshire and the Isle of Skye, Liz Myhill certainly has no shortage of stunning countryside to inspire her painting.
Her new collection of work, Stravaig, currently on display in Perth, celebrates her constant connection with the great outdoors.
Liz was born on Skye in 1980 and spent her childhood roaming the island’s north coast. “I was very fortunate that my parents encouraged creativity and it was something I enjoyed. My strongest memories though are of the time I spent in the natural world.
“The ability to go where I wanted, often alone and without adult supervision, gave me a wonderful freedom to explore the nearby surroundings of the peninsula,” she recalls.
Early nature connection
“I think it is very much those early experiences which carry through to today and my love for being immersed in nature, content to wander or sit and absorb what goes on around me. And there is something special in stillness, in becoming almost a part of the landscape, often leading to wonderful wildlife encounters.”
A commitment to working in the outdoors and in the moment is important to Liz who says: “There is an immersion and energy about working in the landscape that I find incomparable to being in the studio. Senses are heightened, attuned to the nuances of subtle shifts in light, wind, temperature or atmosphere.
“It becomes more of a collaboration, of seeing what will be revealed by a particular walk, time of day, year or weather conditions.
“At times the weather even plays a part in shaping the work as drops of rain leave their mark in a watercolour, an unexpected shower washes pigment away before there is a chance to cover it over, or wind and temperatures affect the drying time of paint.”
Of course, there are many challenges associated with working in the great Scottish outdoors but Liz believes that: “The sense of exhilaration and spontaneity is what overcomes any difficulties. And just as there is a deep-rooted pull to be out in the midst of the landscape there is a compulsion, a need to respond to it creatively.
“The landscape is in a constant state of flux from the stark lines of winter to soft summer dawn mist or deep blankets of snow that rewrite familiar hills completely.
“Sometimes it reveals itself clearly, at other times shrouded in mystery as the mist draws low.”
A lot to lug around
From the logistics of how to carry art materials, food, overnight kit and even an ice-axe and crampons in winter to coping with whatever particular conditions the weather decides to throw at her, Liz points out that her expeditions often require “a trade-off between what is manageable in terms of weight and bulk for the distance and terrain I plan to cover, especially as I’m often on either very rough, steep paths or no path at all”.
As her dramatic landscapes illustrate, the worst weather can often reap the best rewards. “It’s often possible to keep working even in rough conditions, and these are frequently the most exciting to be out in,” she says.
“There is such drama to watching storm clouds billowing closer, dark, heavy and ominous and wondering how much time there will be to put something of the moment down on paper before it casts its shadow over me and the deluge arrives.
“In low temperatures, ice forms on the brush even as I work and water rapidly turns to slush then freezes solid. On the paper it is like watching magic as ice crystals etch feathery swirls or crackled shards through the pigment, or snow falling on to wet pigment leaving a ghost trace of its presence.”
The artist also recognises her responsibility of leaving the locations where she works untouched.
“Not disturbing wildlife or leaving any trace of my presence – and, of course, taking care of navigation and safety – are a priority,” she says.
Talking about her Stravaig exhibition more specifically, Liz says: “Much of this body of work was created through the winter months, finding exhilaration in bearing witness to the constant ebb and flow of changing seasons and an urgency brought about by short days.
“Some days were hard, returning cold, stiff and tired, while on others there was an immersion in place and subject so strong as to wish to prolong the moment for as long as possible, to continue working after dark by torchlight and descend from the hill under achingly cold, clear starry skies.”
Liz has covered much of Scotland in her recent wanderings, with locations from Skye to Lewis, the Isle of May and the Cairngorms all included in her work.
Scottish wildlife
Alongside her love for land and seascapes, Liz has also developed a keen interest in Scottish wildlife over the years. She describes a sense of being “entangled with the natural world. In forming attachments to places, we strengthen our relationships with them.
“Many of these places are unique habitats, they should – and could once again – be abundant with wildlife and I feel its absence keenly.”
She is looking ahead to an exciting new project for this year, which will include partnering with the Scottish Wildlife Trust Rahoy Hills Reserve on the Morvern peninsula, Sail Britain and Argyll Hope Spot.
“It will be an opportunity to immerse myself in woodland and underwater, both of which are subjects I have touched on but not yet spent dedicated time exploring,” she says.
“I will be focusing on a new body of work exploring unique habitats of the Atlantic temperate coast in Scotland – from summit to beneath the sea.”
Stravaig: A Solo Exhibition by Liz Myhill RSW is on display at Frames Gallery, Perth, until April 29.
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