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"I see my work strongly inspired by the land. Yet to me it is like every landscape that has ever been is a study of the community that shapes it, an expression of people. And in my work I always see people. Even their absence, as in the remote areas of Lapland and Scotland there is in some way a statement of control, of intent: to map, to colonise or to conserve. From 233 ways of looking at you. This small/massive work is a map - the expression of a tactile journey. Exploring touch in a visual way."

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graduated from Duncan of Jordanstone College of Art, Dundee, in 1988.

Life Forming by

I explore life in the ether, where energy moves, takes form and fades. The life that exists in the space between here and there; in the moment between now and then; in the breath between us and them. Emerging spirit from the shadow of the soul.

The Garden Shed: a modern-day haven.

Swirling madness in the outer world, peace of being within.

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Was born in 1965 and graduated in Drawing and Painting from Camberwell School of Art in 1987. He continues to combine work as an artist with commitment to art in the community. He is director of East Kilbride Arts Centre.

The Four Pleas of the Crown

This piece was originally devised for possible inclusion in the Commoun Kist, an installation project with Hanging Together at the Tolbooth Arts Centre, Stirling. I subsequently made a piece entitled 'Obit - A fictional Account of the lives of the Tolbooth'. I have cast in plaster four small figures based on studies that I have made from the medieval figure of justice - an oak carved stature that used to be sited over the entrance of the Tolbooth but is now part of the collection of the Smith Art Gallery and Museum, Stirling. Each of the figures bears one of the four pleas (Murder, Rape, Robbery and Arson) and is positioned precariously on a 'Plinth', based, visually, on the calibrated part of the structure of a weighbeam and, by implication, suggestive of the vulnerability of Judgement.

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Peter Haining's origins lie in the Scottish Borders. His relationship with landscape is physical as he lives outside for sustained periods while travelling. The two works in this exhibition refer to similarities between the landscapes of Scotland and Ireland underpinned by nomenclature.

Peter Haining is currently carrying out self-financed, independent research which has resulted in The Archive of Contemporary Irish Folk & Outsider Art (ACIFOA). Informally established in 2001, ACIFOA represents the first attempt to document the art of autodidacts throughout Ireland. Until recently ACIFOA was located within the Irish Museum of Modern Art, Dublin, where it was accessed by arts graduates, journalists, film producers and others with an interest in this engaging type of art. Currently ACIFOA is seeking a more permanent research base within Ireland.

ACIFOA comprises photographs, slides, video interviews, catalogues, magazines, correspondence & texts as well as a few donated works. ACIFOA acknowledges distinctive differences in philosophy and practice by classifying the art documented as follows: folk painting, folk sculpture, naive painting, naive sculpture, outsider art, environments, and decorated cottages.

People wishing to access or contribute to ACIFOA should contact peterhaining@hotmail.com

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Jean Hendry added her work (Lucky Bag)into the project after the opening so a picture of it isn't ready yet. She is a graduate of Glasgow School of Art.

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was born in 1964 She studied at Camberwell School of Art, London. Currently based in Alva, Clackmannanshire. She has exhibited her work through-out Scotland and is a member of Hanging Together and a professional member of the Scottish Society of Artists.

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lives in Stirling and has a studio in Alloa. He has had solo exhibitions in Edinburgh, Glasgow, Alloa, Greenock and Irvine and group shows in Scotland and Germany. He is a professional member of the Society of Scottish Artists.

1) Aesculapius' Shed:

Named after Aesculapius, the Greek god of medicine, who carried a staff wound with a snake, regarded as sacred, is the symbol of both healing and reincamation, through it's ability to shed of its skin and healthier. The skin inhabits a perspex shed, a model of the larger shed that contains it, aand the walls bear text defining aspects of 'Shed', while the floor carries a snakeskin print though the sloughing of old skin, letting go, a spring - like renewed overtakes icy winter.

2)Weaving Shed:

A weaving frame, rescued from old work-space at trhe clockmill, contrasts its cool with the warm, generative colours of the weaving. The shed divides the threads of the warp for the shuttle, and the 'shed' is a wooden model of the hut. It's wood from a childhood engine shed kit never made, sheltering among the threads, but seeming precarious, nevertheless. The tree context emphasises dependant conditions for growth.

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was born in 1977 and brought up in Alloa where she still lives. She has exhibited in solo and group exhibitions in Edinburgh, Fort William and Hull and has had poetry published in two anthologies.

Breathe

Two worlds collide, are we always drifting never entirely in one place in mind and body? A distorted vision of ourselves subconsciously looking for a place where you can just breathe.

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is a graduate from Glasgow School of Art. She lives near Dunblane and works mainly in jewellery and silversmithing. She is a professional member of the Society of Scottish Artists. Her work "Containers For Tears" was seen at the "Wax Works" exhibition at the Collins Gallery, University of Strathclyde.

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is a trained artist and former art teacher. James also studied at Duncan of Jordanstone

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graduated from Glasgow School of Art in 1985. She then studied at the Academy of Fine Arts in Warsaw. Although trained as a painter, she has worked in various visual areas, such as performance, film and installation. She is a professional member of the Society of Scottish Artists. Karen has most recently performed at the Fringe festival in Edinburgh. Fish out of Water is the the title of her piece

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