MORE ABOUT US

We studied at the same time at Duncan of Jordanstone College of Art, in Dundee, Scotland, Elaine in sculpture and Patricia in drawing and painting. On graduation we both won John Kinross scholarships which allowed us to spend three months in Florence, benefitting from an intense and inspiring period of working away from home.

We started working together soon after leaving college, and have enjoyed working collaboratively since 2002. In addition to our site specific installations we have worked together on a number of community projects.

Elaine is a former member of the Board of Directors of Edinburgh Sculpture Workshop, and a current member of the Board of Directors of Art in Healthcare. Patricia is a member of the Board of Directors of Fife Contemporary Art and Craft.

AREAS OF INTEREST

Our main areas of interest are the process of creating new artworks that are a direct response to a place or space and, in so doing, meeting and working with new people and with new materials.

Our first collaborative work was made in 2003, as the result of a decision to actively look for a non-gallery space in which we could work together. New Strains was made for an empty Victorian glasshouse and the success of this project inspired us. We have since made work in the house and grounds of historic houses owned by The National Trust for Scotland. More recently we have undertaken international residencies in the USA and Norway. We approach each new project without pre-conceived ideas of how it will develop, often working within a tightly controlled time frame and using new materials.

In addition to the exploration of spaces and materials and our responses to them, our practice values the opportunity to work with other creative individuals. In our previous projects we have invited a number of professionals to work with us, in fields including sound, projection, and video.

Engagement with the public is a significant aspect of our practice, in terms of the research we carry out and the manner in which work is created. We often use familiar and recognisable materials, inviting people to connect with what we present, and make their own associations. The work is completed by the audience that views it. It is deliberately left open to a range of interpretations and handing it over to a new public is a part of the on-going process. 

Acknowledgments

Our grateful thanks to the following:

For funding and in-kind support

Arts and Theatres Trust Fife, Borders Council, Cambo Institute, Coast Festival, Cupar Arts Festival, Creative Scotland, Edinburgh Sculpture Workshop, Fife Contemporary Art and Craft, Fife Council, Historic Scotland, Perthshire Visual Arts Forum, Rogaland Kunstsenter, Society of Scottish Artists, The City of Edinburgh Council, The Hope Scott Trust, The National Trust for Scotland, The Royal Scottish Academy, The Scottish Arts Council, Sculpture Space, Stavanger 2008, Suldal Commune

For creative collaboration and creative/ technical assistance

Terje Bratveit, Ken Bray, Michael Casey, Fanny Lam Christie and the Heartwood team, John Cunningham, Ben Fallon, Tony Glover, Ken Hopper, Mike Inglis, Louise Johnstone, Andrew Laing, Seifert Graphics, Campbell Sandilands, Steven Shephard, Sandra Stephens, George Tarbuck, Wilf Treasure, Wendy Weeks, Michael Wolchover

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