The Morning Light On The Machair, South Uist - Landscape Painting By Victoria Orr Ewing

The Light Between 2020

The Fine Art Society, Edinburgh
20th November - 23rd December 2020

Landscape Paintings of The Outer Hebrides

The Light Between charts the ever changing skies over Lewis, Harris and South Uist in The Outer Hebrides. Churning, luminescent skies dwarf empty land and seascapes.

Painted last autumn, the glowing machair and heatherclad hillsides inject colour into otherwise dream like scenes. Large scale oils and smaller, quickly worked acrylics on paper make up Victoria Orr Ewing’s second show with The Fine Art Society.

The Outer Hebrides are the most Westerly Islands of Scotland. In Autumn they have an ever-changing array of atmosphere, weather and light. Many of the islands in the archipelago are connected by shallow sands. The ceaseless pounding by the Atlantic waves create huge, white, shell sand beaches. These areas between the Islands look completely different depending on the tide. When it is out, you see vast sands dotted with craggy seaweed covered rocks. The high tide comes right up to the causeways between the islands covering the lagoon in a shallow turquoise sea.

The Machair Plain is constantly evident. The flat marshy grasslands leading up to the coast are scattered with ponds and lochs. Fleeting brightness through the haar.  Seas that can vary in a day from an unlikely tropical blue to a turbulent gunmetal grey.

These changing lights between the islands and the mountains and the sea, It is from this that the exhibition gets its title.

The West coast feels like being on the edge of the World with nothing between the Islands and Canada. Far from urban life, Victoria’s paintings reflect on the importance of retaining these wild, uncultivated places. They invite you to escape a crowded and highly stimulated world, to capture a quiet feeling of space and wonder at the power of nature and how its influence forms the land.

Raised in Galloway, Victoria lived and painted in Andalucia for sixteen years, drawn to its wild landscapes and changing light. On her return to Britain this emphasis remained in her art, emboldened by the dark, complex hues of Scotland’s weather.