John Bathgate, Contemporary Scottish Paintings.
Old Rowan at Ord.
Fungus near Edinbane.
I work from my studio at Roskhill, just south of Dunvegan on the Isle of Skye, attracted here in
1992 by the rugged , wilder country of Scotland's North West , which inspires much of my work.
View from the studio window at Roskhill.
After joining the "Lothians Group of Artists" in 1979, I started exhibiting in and around Edinburgh
and established my first working studio in Haddington, East Lothian. I have been working as a full
time artist ever since,exhibiting in group and one-man shows throughout Scotland.I have also had
work hung and sold in RSW exhibitions in Edinburgh. I now show my work from Inverness in the
Highlands to Eton and Stockbridge outside London, as well as selling work from the "Dun Studio",
at Roskhill on the Isle of Skye.
Julian Halsby and Paul Harris have now included me in the "Dictionary of Scottish Painters,1600
to the Present", published by "Birlinn Ltd".
Now in the North West of Skye, I look out on Loch Bracadale, with views south to Rum and
Canna, the Cuillins and west to MacLeods Tables. The quality of the light here and the constantly
changing weather provide the inspiration for many of the paintings produced.
With the Roskhill studio now well established and new limited edition "Giclee" prints produced, I
am looking forward to a productive time.
Some local flora and fauna.
I work in various media and like to explore ways of applying paint and collage to create
interpretations of the elements that shape the Scottish landscape. Water-based media allow
everything from thin layered washes, to thickly applied acrylic, with collage integrated into
the paint. Work in oils has again begun to feature and some very effective images are produced
with the use of collage alone. Most of my ideas are gleaned from walking in the landscape,
recording details in sketchbooks, drawing in pencil and watercolour crayons to make a loose,
washy account of my ramblings.
Watercolour crayons and pencil, quick, light to carry and very adaptable for outdoor work.
It may be a panoramic view,or a cluster of trees and houses. Often, it is smaller details, like
drystone dykes or a tangle of seaweed on rocks. Back in the studio I can concentrate on the
paintings, without the difficulty of the elements or curious animals.On occasions, some images
arrive on their own, with no preliminary drawings. At times, when an accumulation of work
starts a flow of ideas, paintings build into a series.
I like to keep an open mind and try any new ideas that come my way.I am always learning.
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