Objects recovered from a mysterious 250-year-old burial on Arnish Moor on the Isle of Lewis, star in a new exhibition, opening today. The exceptionally well-preserved knitted bonnet and personal belongings of a young man, on loan from National Museums Scotland, are displayed for the first time in a generation at Kinloch Historical Society.
In 1964, the body of a young man was discovered on Arnish Moor, south of Stornoway. Forensic analysis at the time revealed that he was around 20 to 25 years old and identified a fracture on the back of his head that indicates he may have been murdered. The young man’s identity remains unknown, but his clothing and personal belongings provide a rare insight into life in the Outer Hebrides in the early 1700s.
The knitted bonnet is now a brownish green colour, but analysis has revealed traces of indigo typical of the traditional blue bonnets worn in the Scottish Highlands and Islands in the 18th century.
It is displayed alongside other personal items that were found with him, including a wooden comb and quills.
These suggest he was educated and was perhaps a scholar or an apprentice clerk. The young man’s clothing, including a stylish but well-worn jacket covered in intricate hand-stitched repairs, is too fragile to be displayed.
Although the young man’s remains were not discovered until the 1960s, stories of a murder on the moor have been passed down through generations, becoming part of the lore and identity of the local community.
Dr Anna Groundwater, Principal Curator of Renaissance and Early Modern History at National Museums Scotland, said: “We don’t know who this person was, but the quality of his clothes and possessions paints a portrait of a learned young man who cared about how he looked, despite being of limited means.
“We do know that his life was cut tragically short. It has been a privilege to work with colleagues at the Kinloch Historical Society and with the local community in Lewis to bring his story to life and learn more about the historical context and oral traditions that surround the mystery of the Arnish Moor Man.”
Anna MacKenzie, Heritage Manager at Kinloch Historical Society, said: “The story of the Arnish Moor Man is one that appears regularly in our local Folk Lore. What happened to this young man is a mystery.
“By hosting this exhibition, we hope members of the public will be inspired to revisit the tales they grew up with and seek the answers of this 18th century murder. The Kinloch Historical society are very proud of the relationship we are building with National Museums Scotland. They have been a great source of support and it is a privilege to be displaying these items, that have never been shown locally before.”
Arnish Moor Man opens today, Thursday 13 March 2025, at the Kinloch Historical Society, Lewis, and runs until March 2026.
This loan is part of National Museums Scotland’s National Strategy, which sees collections and expertise shared through loans, participation in national projects, community engagement, funding for acquisitions and free knowledge and skills development opportunities for museums across Scotland.
Over 2500 objects are currently on loan to Scottish organisations, bringing the National Collection to audiences across the country.
The centenary of the remarkable Scottish artist Ian Hamilton Finlay (1925-2006) will be marked in a new free display of his work on the ground floor of Modern Two in Edinburgh from 8 March to 26 May 2025.
This exhibition will showcase key highlights from Ian Hamilton Finlay’s artistic career, starting in the early 1960s until his death in 2006. Hailed as a unique combination of poet, sculptor, printmaker, gardener and provocateur, Finlay’s practice covered a wide range of media which will be reflected in this display of sculptures and prints as well as never-before-seen archival materials and a room-sized installation, all from Scotland’s national collection.
From the Classical world to the French Revolution, the Enlightenment to World War Two, Finlay, a self-proclaimed ‘anti-modernist’, often looked to history for inspiration. Recurring motifs including boats, tanks, wallflowers and ships can be spotted throughout the range of artwork that will be on display. Although simple by design, they often draw on more complex references to history, literature and art – with subtle humorous nods.
Born in the Bahamas in 1925 to Scottish parents, Finlay moved to Scotland in his early childhood, taking up a brief stint at Glasgow School of Art and eventually settling in Edinburgh in the late 1950s. His love of the written word influenced the start of his career as a playwright and poet. He became a key figure in the concrete poetry movement – a type of visual poetry where words are arranged to create patterns and images on the page.
Visitors will see early examples of Finlay’s concrete poetry, including the screenprint Star/Steer (1966), which tells the visual tale of a ship navigating stormy seas under the silvery light of the stars, presented through cascading words.
The artist’s first steps into the world of sculpture will also be explored through his days as a hobbyist toy-maker in 1960s Edinburgh. The exhibition will feature the wooden Toy Cow (1962-63), one of the earliest examples of Finlay’s sculptural work, alongside photographs of the artist amongst his toy creations.
A visionary artist, Finlay harnessed the power of collaboration throughout much of his work, drawing on the expertise of fellow makers and creators to bring his artistic visions to life. From stone-carvers to typographers, ceramicists to calligraphers, he employed a wide range of specialist technicians to realise his work.
In 1966, Finlay and his wife Sue moved into a semi-derelict farmland called Stonypath, south-west of Edinburgh, sheltered within the Pentland Hills. Here, he would go on to create what is often considered his greatest work: an ambitious, expansive garden filled with sculptures.
Renamed ‘Little Sparta’, in reference to the Spartan wars in Ancient Greece, and a humorous nod to his own personal battles with organisations such as the Scottish Arts Council, Finlay grew his creative practice in its grounds over the course of 40 years.
Rarely leaving its confines for decades due to agoraphobia (a fear of open, crowded spaces), Finlay created over 260 sculptures and artworks at Little Sparta, distributed across its four acres of curated gardens. The site remains an integral part of Finlay’s artistic legacy and is open to the public to enjoy each summer.
Visitors to the exhibition can take a glimpse into the lush grounds of Little Sparta for themselves through Finlay’s installation Nature over again after Poussin (1979). Filling a whole room, the work comprises 11 photographs set on plinths, each offering different viewpoints of Little Sparta.
A carved stone can be found within each image, ‘signed’ with the initials of artists who embraced a more classical approach to painting landscapes. The work encourages a moment of escapism, embracing time to get lost within the serenity of each photo.
The exhibition will also take over the Keiller library, where visitors can uncover more about the man behind the artwork through a selection of rare archival materials. Objects including letters, personal photographs and notebooks, many of which have never been on display before, will give a unique insight into Finlay’s inspirations, artwork and life.
Patrick Elliot, Chief Curator of Modern and Contemporary Art at the National Galleries of Scotlandsaid: ‘Ian Hamilton Finlay was a completely unique figure in British art.
“Severe agoraphobia meant that he seldom left his house and garden in the Pentland Hills. Collectors, museum curators and art lovers from all over the world came to see him and his garden over a period of 40 years.
“He was a complete maverick, a wonderful, complicated, fascinating man and artist. Totally uncompromising and at times difficult, he created what is, in many people’s eyes, the greatest artwork created in Scotland in the second half of the twentieth century: his garden at Little Sparta.’
Ian Hamilton Finlay is free to visit and yours to discover at Modern Two from Saturday 8 March 2025.
Our new spring exhibition is ‘Nurture Through Nature with Children’s Books’ and explores the links between wellbeing and nature introduced to us through books from an early age.
Accompanied by a creative programme of events for everyone.
Travelling Gallery is delighted to be partnering with the University of St Andrews this February to present the exhibition Between Women.
The exhibition features the work of Franki Raffles, Sylvia Grace Borda, Sandra George, Carolyn Scott and Niu Weiyu.
Between Women takes images made by the photographer Franki Raffles from her base in Edinburgh during the 1980s and 1990s as a starting point to explore relationships between gender, labour, education, care and activism in documentary photography since the 1950s in Scotland and internationally. Raffles’ photographs will appear alongside images by Sylvia Grace Borda, Sandra George, Carolyn Scott and Niu Weiyu which together illuminate how gender is produced and reproduced through workplaces, housing, healthcare, and particularly schools, playgrounds and nurseries, across urban and rural landscapes.
In examining the relationships and power structures between women, this exhibition takes inspiration from two projects by Raffles. The first is a trip Raffles made in 1984–85 to the Soviet Union and Asia, including an extended period in China, during which her concern with women at work crystallised.
The second, Picturing Women, was part of a 1988–89 educational initiative organised by Stills Gallery, Edinburgh, aimed at helping young people analyse photographs, for which Raffles studied the working relationships between women at a school. These two projects provide a framework through which connections and comparisons with Niu Weiyu, Carolyn Scott, Sandra George and Sylvia Grace Borda’s photographs emerge.
One of the few women photographers to gain professional recognition in twentieth-century China, Niu worked for state-run media organisations and produced a large number of photographs that portray women’s roles as workers throughout the 1950s, 1960s and 1970s.
Carolyn Scott’s documentary photographs images of children and families in Newcastle’s Rye Hill area where she lived between 1967-68 observe the relationships and socialisation forged through play, but also the effects of deindustrialisation on the community.
Sandra George’s photographs of Edinburgh during the 1980s and 1990s attest to the importance of community educational groups and spaces in activism and organising, alongside public demonstrations and gatherings.
Sylvia Grace Borda’s studies of schools, leisure centres and nurseries in the New Town of East Kilbride reflect on the complex legacies of post-1945 Welfare State architecture from the perspective of the early 2000s.
Together, these photographs highlight the possibilities for solidarity between women in sites and spaces spanning the local and the global, but also the importance of recognising differences and intersectional identities that account for the constructs of gender, sexuality, race, disability and class in activism and organising.
Launching in Edinburgh at the Community Wellbeing Centre on Monday 17 February from 11am to 5pm, the exhibition will tour throughout the week visiting the following locations:
Wednesday 19 February, 10am – 4pm – Dundee International Women’s Centre
Thursday 20 February, 10am – 4pm – Fluthers Car Park, Cupar
Friday 21 February, 10am – 4pm – East Sands Leisure Centre, St Andrews
Between Women is curated by Vivian K. Sheng and Catherine Spencer, with support from the University of St Andrews Impact and Innovation Fund.
Culture and Communities Convener, Councillor Val Walker said:“It’s brilliant to see the Travelling Gallery return for 2025.
“It’s crucial that art and culture is as accessible to as many people as possible. I’m proud that through our ongoing support of the Travelling Gallery, and the recent increased Creative Scotland investment, art is brought straight into the hearts of towns and cities across Scotland. I hope everyone takes the opportunity to visit the exhibition, bringing together work which illuminates how gender is produced and reproduced through workplaces.
“Here in Edinburgh, we’re clear that that our residents should be able to easily access a variety of cultural activities, and this exhibition brings art closer to people’s communities.”
Louise Briggs, Curator, Travelling Gallery said: “We’re delighted to be working with Vivian, Catherine, and the University of St Andrews to present this exhibition.
“We’re looking forward to discussing the work of each artist with our visitors, who we believe will have their own stories and experiences to share that chime with many of the references (and local sites) found in the work on display.”
With thanks to the University of St Andrews Libraries and Museums, Edinburgh Napier University, Franki Raffles Estate, Craigmillar Now, Gaofan Photography Museum, Sylvia Grace Borda and Carolyn Scott.
Travelling Gallery is a contemporary art gallery in a bus. Since 1978 it has been bringing exhibitions to communities throughout Scotland. We recognise that art can change lives and we create fair conditions and remove barriers to allow access and engagement to audiences in their own familiar surroundings.
The gallery space offers an open and welcoming environment for people of all ages, backgrounds, and abilities to discover and enjoy contemporary art. Over the past forty years, Travelling Gallery has brought innovative exhibitions to every part of Scotland reaching hundreds of thousands of visitors and school pupils.
Travelling Gallery is a ‘not for profit’ organisation, regularly funded by Creative Scotland and supported by the City of Edinburgh Council.
The gallery has ramp access for wheelchairs; hearing loop and will have large print format exhibition interpretation.
Artist Biographies
Sylvia Grace Borda is an artist working with photography, net art, video installation, and eco-art, who has undertaken projects in Canada, Finland, Northern Ireland, Latvia, Scotland, Ethiopia and Taiwan. Her artwork is concerned with establishing systems of public understanding that underpin literacy, advocacy, and action to conserve the built and natural environments. In Scotland, she focused on New Town architecture in EK Modernism (2005–10) and A Holiday in Glenrothes (2008), and created an edible photo artwork, the Lumsden Biscuit (2016–17). Her roles at Queen’s University Belfast (2008–10); University of Salford (2011), and University of Stirling (2012–15) have focused on visual arts and social histories, digital engagement and innovation. In 2023, she received the Mozilla Foundation Rise 25 award in recognition of her transformative media arts practice to democratize the web for communities. Exhibitions include National Galleries of Scotland, RIAS, Street Level Photoworks, and The Lighthouse, Glasgow.
Sandra George (1957–2013) was an Edinburgh-based social documentary photographer, multi-disciplinary artist, and a community worker in Craigmillar. George studied Photography at Napier University, Drawing and Painting at Edinburgh College of Art, and Community Education at The University of Edinburgh. For over 30 years she worked extensively as a freelance photographer for organisations and publications including the Sentinel, Tollcross Community Newspaper, Shelter, Craigmillar Festival News, and Craigmillar Chronicle, and taught photography and art to communities across Edinburgh. She started working in community development in Wester Hailes in the 1980s, and in Craigmillar from the 1990s, and was an integral member of initiatives including McGovan house, the Thistle Foundation, and the Craigmillar Arts Centre. Alongside a commitment to community work, anti-racism and social justice, George’s photographs document children at play and their educational and leisure environments. George’s archive is held at Craigmillar Now, a community-led arts and heritage organisation in Craigmillar.
Franki Raffles (1955–1994) was a feminist photographer specialising in social documentary. Raffles studied philosophy at the University of St Andrews from 1973–1977, where she was an active member of the Women’s Liberation Movement. After experimenting with photography while living on the Isle of Lewis, she moved to Edinburgh in 1983, and started documenting women at work, as well as organising and campaigning. Raffles frequently collaborated with Edinburgh District Council’s Women’s Committee, including on the project To Let You Understand: Women’s Working Lives in Edinburgh (1989) Zero Tolerance campaign against domestic violence in the early 1990s. She travelled widely throughout her career, including extended trips to Asia and the Soviet Union. Raffles’ work is currently the focus of a major exhibition Franki Raffles: Photography, Activism, Campaign Works at BALTIC Centre for Contemporary Art. Her archive is held at the University of St Andrews.
Carolyn Scott is an artist working in photography, film and installation. She was raised in Edinburgh and now lives in Cupar, Fife. Carolyn lived in the Rye Hill district of Newcastle Upon Tyne in the late 1960s where, in the spring and early summer of 1968, using a twin-lens Rollieflex camera, she photographed the immediate area in which she lived. Her Rye Hill Social Documentary Photography Collection images were unseen for nearly 40 years until she revisited them during her studies at Duncan of Jordanstone College of Art and Design, Dundee University, where she received a BA and MFA. Carolyn’s work has been shown in the Cupar Arts Festival, St Andrews Photography Festival, Royal Scottish Academy and The Centre for Theology and Inquiry, Princeton. The Rye Hill Social Documentary Photography Collection is now held at the University of St Andrews.
Niu Weiyu (牛畏予) (1927–2020) worked as a photojournalist and photographer for North China Pictorial, Southwest Pictorial, and the News Photography Bureau. She later joined the Xinhua News Agency, where she worked for various branches from the 1950s to the 1980s. Weiyu was one of the few women photographers during this period, who were often assigned to feature women workers, such as the first women pilots, as well as public figures and officials in the Chinese Communist Party, and she travelled extensively throughout her career.
Vivian K. Sheng is an art historian working on contemporary Chinese and East Asian art in transnational contexts and an assistant professor in contemporary art at the University of Hong Kong. In Fall 2022, she was a Global Fellow hosted by the School of Art History at the University of St Andrews. Her research investigates the intricate interrelations between women, domesticity and art practices in contexts of ever more intensified cross-border movements and exchanges, provoking reflections on notions of identity, home and belonging beyond the territorial fixity of natio-state. Relevant issues are explored in her forthcoming monograph book— The Arts of Homemaking: Women, Migration and Transnational East Asia. Her writings have appeared in ASAP/Journal,Art Journal, PARSE Journal,Third Text, Sculpture Journal, Yishu and INDEX JOURNAL.
Catherine Spencer is an art historian at the University of St Andrews. She is currently working on a book entitled Abstract Subjects: Art, Borders and ‘Britain’, and co-editing Grassroots Artmaking: Political Struggle and Activist Art in the UK, 1960–Present with Maryam Ohadi-Hamadani and Amy Tobin (Bloomsbury, forthcoming). Her writing on Franki Raffles has been published in Art History (2022) and the catalogue for the 2024–5 exhibition Franki Raffles: Photography, Activism, Campaign Works at BALTIC Centre for Contemporary Art. In 2021, she co-curated Life Support: Forms of Care in Art and Activism with Caroline Gausden, Kirsten Lloyd, and Nat Raha at Glasgow Women’s Library. Her essays have appeared in Art History, Art Journal, ARTMargins, Tate Papers, Parallax and Oxford Art Journal.
THE INSPIRING EXHIBITION WILL CELEBRATE THE LEGACY OF THE FLYING SCOTSMAN AND OLYMPIC HERO, ERIC LIDDELL
An inspiring exhibition commemorating the legendary athlete Eric Liddell will be unveiled at the Scottish Parliament this summer, marking the centenary of Liddell’s iconic Olympic gold medal victory in Paris in 1924.
Launching on the 25th of July and coinciding with the Edinburgh Festival Fringe, the exhibition, ‘Eric Liddell: Legacy of an Olympic legend’, will be on display in the Parliament’s Main Hall and will run until the 12th of September.
Eric Liddell’s remarkable story reached global audiences through the 1981 Oscar-winning film, ‘Chariots of Fire’.
The film, celebrated for its inspiring narrative and memorable soundtrack, continues to influence and uplift people around the world. Born in Tianjin, China, Liddell was a devout Christian who famously withdrew from the 100m heats at the Paris Olympics because they were held on a Sunday, his Sabbath.
Instead, he competed in the 400m event, where he triumphed, securing his place in history as the last British athlete to win gold in this event.
This exhibition offers a unique opportunity for visitors to explore the life and legacy of Eric Liddell – the Flying Scotsman and 1924 Olympic champion – alongside other legends from the Scottish Sporting Hall of Fame and Scottish athletes competing in the 2024 Olympics.
Organised by The Eric Liddell 100 campaign, which Her Royal Highness the Princess Royal serves as Patron, this initiative seeks to honour Liddell’s legacy and inspire future generations through a series of events and activities emphasizing his core values of passion, compassion, and integrity.
John MacMillan, CEO of The Eric Liddell Community, said: “We are thrilled to see the launch of the Eric Liddell exhibition today, as part of our exciting programme of events to celebrate the centenary of Eric Liddell’s gold medal win.
“All of our partners involved in this initiative spent a significant amount of time considering what Eric Liddell would have wanted and how important it is that we reflect him in our endeavours; we believe that any individual can make a positive impact on the world if they approach the challenges they face with passion, compassion, and integrity, which are our three values for The Eric Liddell 100.
“We hope everyone who visits the exhibition leaves feeling uplifted, inspired, and motivated to live life with these values in mind.”
Rt. Hon Alison Johnstone MSP, Presiding Officer of the Scottish Parliament, said: “We are delighted to host this exhibition in the Scottish Parliament, which celebrates the significant achievements of Eric Liddell but also serves as a powerful reminder of his legacy.
“It seems particularly relevant as Olympians from across the world prepare to compete in Paris. The Scottish Parliament is delighted to provide a platform for sharing his inspiring story with the thousands of people who will visit us this summer.”
The Eric Liddell Exhibition will be on display at the Scottish Parliament daily, from 10:00 AM to 5:00 PM. The display is free to the public, with no ticket required.
-New Exhibit ‘Scottish Light’ showcases local artist’s oil paintings in Lobby 37-
Edinburgh born artist Madeleine Gardiner will be the next in a series of Scottish artists to showcase her contemporary landscape paintings in Gleneagles Townhouse this April.
The Townhouse’s exhibition space, Lobby 37, will play host to a selection of Madeleine’s recent oil paintings inspired by memories of childhood holidays in the Scottish Highlands and the soft hazy light of Scotland.
The Exhibition, entitled ‘Scottish Light’, will run from Saturday 1 April to Thursday 27 April and will be available to view daily between 9am and 7pm for the public, and for members and hotel guests throughout their visit to the Townhouse.
Wild spaces, memory and atmosphere are key areas of concern in the artist’s work.
While her early works reflect nostalgia of the rugged Scottish coast and lochs, over time this presence began to blend with images of her travels to places like Namibia, Arizona, The Canadian Rockies, Vietnam, and the Tyrolean Alps.
Her paintings represent composite landscapes built from memories connected through a shared aesthetic, and harnessing light and recreating the ways in which it alters depth is a primary focus in her process.
Madeleine Gardiner graduated from Edinburgh College of Art with a BA degree in painting in 2015, and moving to London in 2017.
Two of Madeleine’s paintings are on display in the Gleneagles Hotel in Auchterarder.
More information about the artist and her work is available at:
