The residency at Marchmont House May 2023
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In March, I heard the news I had been selected for a month long funded residency at Marchmont House through the Marchmont Makers Foundation and Royal Society of Sculptors, I couldn't believe it! me. Over the couple of years I had been short-listed for various commissions but didn't get any, so this news was such a boost and a huge opportunity to develop my practice.
My application proposal: The Human form, in particular the portrait, and a compulsive enquiry of matter, fuels my creativity, often using a material’s history or experience to lead a figurative sculptural investigation. My work is concerned with identity, revealing the concealed, exposing the discarded, the overlooked and forgotten. This funded residency award at Marchmont House will be a great opportunity to develop these ideas by searching for something hidden, lost or forgotten within the Estate. Exploring a loft-space, cellar, behind a wall or beneath the grass, in search of historic artefacts to inform a contemporary outcome and bringing a voice to something that would otherwise remain silent. I am excited about the idea of meeting and learning from the other artists and historians onsite as well as the getting inspiration from the hidden corners of the Marchmont Estate; allowing time for contemplation; reimagination and an opportunity to leave something at Marchant House that was not there before. |
About Marchmont
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Marchmont House is an imposing ‘Grade A’ listed Palladian mansion built in 1750 by Hugh Hume-Campbell, 3rd Earl of Marchmont. Long thought to have been designed by William Adam, it is possibly the work of the celebrated architect James Gibbs, and enacted by Thomas Gibson. The interior at Marchmont is arguably one of the finest in Scotland, and the house retains many of its original features, including the magnificent George II period plasterwork by Thomas Clayton, the pre-eminent plasterer of the time. Under the direction of Hugo Burge the House has taken on a new lease of life as a Home to Makers and Creators. This ethos extends into the estate where the outbuildings have been converted into artist studio and living spaces. |
The Tower Studio
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The Residency Begins
The 350 mile journey by car to the borders of Scotland, was a fairly uneventful journey, finally passing through the county of my birth, Northumberland before crossing the border into Scotland. The entrance to the Marchmont estate was a long way from the house, the nearest village of Greenlaw being three miles away. I arrived at the side entrance to the Palladian mansion and David, the House Keeper, showed me to a beautifully furnished 'Hobbit pod' overlooking the most incredible view - a tree lined valley topped with the pale misty lilac of the Cheviots in the distant horizon. This was to be my home for the next four weeks.
The Hobbit Pod with Tower Studio in the background
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My View
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That evening I went exploring. Walking along the disused branch railway line near to Marchmont station (1863-1948) was a peaceful experience, wedged in a valley, the micro climate of warmth and stillness showed off its winged visitors. I saw a bird I had never seen before, a jumpy energetic blur of black and rust. A quick Google search revealed it to be a Redstart. Viewed from my pod, this valley became a runway for all sorts of birds, including a whistling pair of swans, buzzards, lapwings and crows. The oak tree, still winter bare, shared its insect companions with tree creepers, nuthatches, tits, redstarts, gold finches and even a duck. The grass banks were every now and then ruptured with mounds of mole excavated brick red soil, I was quite amazed at how rich the colour of the earth is here, this geological seam of red isn't everywhere, a short distance away the naked earth in a ploughed field is a deep umber, awaiting it's sown seeded grafting to camouflage its brown peaty core.
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The following day, I still wasn't quite sure was was to happen, so I took myself off for a walk to Polwarth Kirk, a little deconsecrated church about a mile away, that I had seen on Instagram previously and which had intrigued me. Plans are underway to renovate the building to a space for artistic performance and exhibition, so before this happens I wanted to see it in its 'before' state and perhaps discover a hidden portrait for inspiration. The walk to Polwarth Kirk via the road was so picturesque, a great introduction to the scenery here on the Borders.
While exploring the graveyard for faces, I met 'Winker' Watson, a local furniture restorer, who was actually working on a restoration project in the kirk. He had lived nearby all his life, married at the kirk as did his parents and grandparents before him, he showed me the Watson grave stone. He told me stories of the history of the kirk and then showed me the vault visible through a small iron barred archway at the back of the building. This creepy deep space housed four leather wrapped, warped wooden and lead lined coffins. They were quite visible in front of the endless darkness beyond. My future frequent visits to the kirk and my intreguing meetings with Winker Watson turned out to be invaluable in many ways, but in particular to the visual outcome of my residency.
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Later that morning, I met up with Lucy Brown, general manager of Marchmont Makers Foundation and Marchmont House. It was her and Hugo Burge who selected me from the shortlisted applications. I was interested to know what is was about my work and proposal that made them select me and she mentioned the quality of my work and the connection to the landscape with my work from the quarry residency. I was looking forward to meeting Hugo over the next few days. I mentioned to Lucy I had met Winker at the Kirk, and how he was full of local stories from the past. She then told me about Lady's Walk and the young lady who walked the path from Redbraes Castle at midnight to take food to her father who was in hiding in the vault. Winker had also mentioned something about it, I needed to find out more. I also had confirmation from Lucy, the permission to metal detect around the estate, in the hope of finding objects that would support and inspire my research. I was now really excited to get stuck-in on my treasure-hunting and research quest.
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While waiting for Lucy, I settled into my new Tower studio and did a quick oil based clay sketch of an imaginary face and decided to crown it with the sheep's wool I had collected the day before. Little did I know that it had similarities to a well known visitor to Marchmont, who I would meet later.
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I couldn't wait to get my metal detector out, so that afternoon, I searched the Lady's Walk up to Polwarth Kirk and wasn't disappointed.
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Visit to the tree of Wonder
I had seen my Marchmont predecessor, Ceramicist, Frances Priest visit the Tree of Wonder. I knew it was up a steep hill and Lucy has said I needed to go round the bridge, which was being repaired, keep walking, then go through a disused quarry. With that I headed off. En-route I met a rather inquisitive stoat who had just amusingly hopped right past a registered trap that probably had his name on it, but not today. It is the season for ground nesting birds, which are thriving here at Marchmont due to well managed conservation areas. I made it through the quarry and found myself on top of the World, and still within the Marchmont Estate! Retracing my steps, a path led me to my intended destination.
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The Tree of Wonder The tree that invites you to hug it, welcoming you with those huge soft moss clothed low hanging arms. Heavy with age and wisdom, I accept, wrapping my old heavy arms around him and squeezing. What a delight you lovely old boy! Billie Bond 2023 |
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The Portraits, lost and found
Over the weeks, I recorded the portraits I found, through sketching, sculpting and digital photography. These are sources of further investigation at some point. Most of the coins were found down by the old railway line, evidence of a busy social and industrial past, very few modern coins were found, highlighting the decline of human movement post World War II.
While inspecting and scrutinising these objects, you notice the patination and scratches of exchange, the erosion. How time affects. What stories these objects could tell but forever hold their silence. We can only speculate. The great thing about coin portraiture is that you are given a clue to their time of being and what their custodians may have worn. Their location of loss may also give an insight to their story, we can really only imagine.
While inspecting and scrutinising these objects, you notice the patination and scratches of exchange, the erosion. How time affects. What stories these objects could tell but forever hold their silence. We can only speculate. The great thing about coin portraiture is that you are given a clue to their time of being and what their custodians may have worn. Their location of loss may also give an insight to their story, we can really only imagine.
The Heavens open
It really only rained heavily once during my month at Marchmont. This day the thunderous back drop to Sky Boat was dramatic. Sky Boat, visible from the pod, is a sculpture by Charles Poulsen, a very good friend of Hugo's. He has commissioned many works from Charlie around the estate, each one evolving with time. I met Charlie a few days later and shared with him the image I took of the boat in the storm. He is a lovely quiet natured chap with a mound of white curly hair, and yes, I mentioned I had recently made a portrait that looked just like him. Today, just before the storm hit, I met Hugo's father, he was wondering what I was doing metal detecting the land, I explained I was one of the artists. He wanted me to make sure all finds were archived and with that, I was introduced to Wilma, the Marchmont archivist, of whom I probably would not have met if not for my unscheduled meeting with Mr Burge senior. The day of the storm was also King Charles III coronation which I watched the highlights, with my daughter who had come to visit for the weekend.
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Offerings
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Marchmont Estate has an abundance of wild garlic, its heavy scent hits you as you walk by, enticing, in particular, my daughter to pick some for dinner. Everyday, early in the morning, my neighbour Sean, the groundsman/gardener, tends to his ducks and chickens and their little fluffy hatchlings. He also has an abundance of eggs, of which he very kindly gave me a dozen. That afternoon, Sophie made some amazing cheese scones, with Marchmont wild garlic and Marchmont free range and utterly spoilt, hen eggs. We shared the freshly baked scones with Sean and some of the resident artists. |
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Research into the story of the Lady's Walk
Before the completion of Marchmont House in 1750, the Hume family lived in Redbraes Castle, (the ruins of which can be seen not far from the pod behind the tower) At Redbraes lived Sir Patrick Hume of Polwarth, later Patrick Hume , 1st Earl of Marchmont. Having been implicated in the Rye House Plot, Sir Patrick went into hiding in the vault of Polwarth Kirk. His daughter, Lady Grisell Hume (later Lady Grisell Baillie) in the darkness of the night would smuggle food to him and her well trod path from Redbraes to Polwarth Kirk became known as 'Lady's Walk'.
Born at Redbraes Castle, Grisell Hume was the eldest daughter of Grisell Ker and Sir Patrick Hume. When she was a young girl travelled alone to Edinburgh carrying letters from her father to a Scottish conspirator in the Rye House Plot - Robert Baillie of Jerviswood, who was then in prison. Hume's sympathy for Baillie made him a suspected man and the King's troops occupied Redbraes castle. He remained in hiding for about a month in the vault, but on hearing of the execution of Baillie (1684) he fled to the United Provinces, where his family joined him soon after. They returned to Scotland after the Glorious Revolution (1688)
In 1692, Lady Grisell married George Baillie, son of Robert. The couple had first met when they were 12 and supposedly fell in love at that point. She died in London 6 December on her 81st birthday.
The lantern used when visiting her father in hiding is on display at National Museum Scotland. The lantern and Lady Grisell's story of tenacity and bravery became my Marchmont residency creative focus.
Born at Redbraes Castle, Grisell Hume was the eldest daughter of Grisell Ker and Sir Patrick Hume. When she was a young girl travelled alone to Edinburgh carrying letters from her father to a Scottish conspirator in the Rye House Plot - Robert Baillie of Jerviswood, who was then in prison. Hume's sympathy for Baillie made him a suspected man and the King's troops occupied Redbraes castle. He remained in hiding for about a month in the vault, but on hearing of the execution of Baillie (1684) he fled to the United Provinces, where his family joined him soon after. They returned to Scotland after the Glorious Revolution (1688)
In 1692, Lady Grisell married George Baillie, son of Robert. The couple had first met when they were 12 and supposedly fell in love at that point. She died in London 6 December on her 81st birthday.
The lantern used when visiting her father in hiding is on display at National Museum Scotland. The lantern and Lady Grisell's story of tenacity and bravery became my Marchmont residency creative focus.
Treasure Hunting the past
These are some of the metal detecting finds, offering an insight into the hidden social history of Marchmont. My favourites have to be the lead musket balls and 17th century buckles from near the location of the former Redbraes Castle. No gold, but to me, these are all treasures. All will be recorded with the archivist at Marchmont and will be reported with Treasure Trove at National Museum of Scotland. These items could also be inspiration to any future Marchmont resident artists.
11th May Marchmont Statement
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It is with great sadness that we announce the passing of Hugo Burge who died suddenly at home on Wednesday 10th May. Hugo’s kindness, intelligence, curiosity and belief in a better world made him an inspiration to us all. He was a beloved son and a great friend. We will miss him terribly. His family ask for privacy at this time. Arrangements for a memorial service will be announced in due course. I can't begin to tell you of the shock at this news. How sorry I felt for Hugo's farther, for Lucy, all the artists at Marchmont Creative Spaces and all the other creatives he touched with his kindness and passion. The out-pouring of loss was immeasurable. I had no words to offer, only an ear for those who wanted to share their grief. I could only grieve for the man I never got to meet and never got to thank for this amazing opportunity. It is now important for me that the rest of my residency honours Hugo's vision to nurture Marchmont's stories through Persuasion, Inspiration and Purpose |
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Making the Lantern
I am a maker, a designer, a thinker. I already had the design - imagery from an etching from the library at Marchmont, and images of Lady Grisell's lantern on the website of the National Museum of Scotland in Edinburgh. I thought for a bit, then decided to make. I knew this was going to be a challenge without the necessary tools, but I love a challenge. My intension was not just to make a replica, as that would not be art. My lantern must tell its own contemporary story as well as having authenticity in it's making, materiality and journey.
I could see from the images I had, that the handle was a branch directly connected to the supporting frame, the handle literally grows out and integral to the design. It acts like a gesture, an offering of guidance and of leading. This was an important part of the lantern to recreate. I walked the Lady's walk again, in a quest to find the perfect branch. I found what I was looking for, a piece of Scotts pine that had blow down, probably during storm Arwen in November 2021, a devastating storm that felled hundreds of thousands of trees across the East of Scotland and certainly making its mark on the disrupted skyline of Marchmont once towering green giants, many now laying prone with their red ragged fractured roots exposed and shifted from their horizontal implantment.
I made it to Polwarth Kirk with my branch in hand. 'Winker' Watson was busy with his restoration project in the kirk, I told him that I was going to make the lantern, he was impressed with the branch I had found. What I needed now was some old tin for the top of the lantern, Winker, with his resourceful mind, thought, then said he knew just the thing. He went around the outside of the little church, and there leaning up against the wall was a sheet of rusty metal. It had my name on it. it was perfect even down to its patinated surface. Branch and tin in toe, I hastily made my way back to the Marchmont studios, where I asked Sam and Rich, the chair makers, if they could cut my branch. I then peeled back the bark to reveal the soul of the wood, its beautiful twisting grain, the marks of a previous life. I then had to think about the construction of the rest of the lantern. I rummaged around the chair makers' reject wood pile and found some oak and ash spindles, I would use these to make the rest of the frame. I was incorporating pieces of Marchmont's artistic community within its structure. It was quickly becoming a collaborative piece of work. I whittled the spindles to slot into the branch handle. Now I had the pieces to make the frame, but no tools to aid me. A trip to a local DIY shop provided me with the basic tools I needed. With hammer, saw, screwdriver, blade and wood glue and stain, I knew I could complete my task.
I could see from the images I had, that the handle was a branch directly connected to the supporting frame, the handle literally grows out and integral to the design. It acts like a gesture, an offering of guidance and of leading. This was an important part of the lantern to recreate. I walked the Lady's walk again, in a quest to find the perfect branch. I found what I was looking for, a piece of Scotts pine that had blow down, probably during storm Arwen in November 2021, a devastating storm that felled hundreds of thousands of trees across the East of Scotland and certainly making its mark on the disrupted skyline of Marchmont once towering green giants, many now laying prone with their red ragged fractured roots exposed and shifted from their horizontal implantment.
I made it to Polwarth Kirk with my branch in hand. 'Winker' Watson was busy with his restoration project in the kirk, I told him that I was going to make the lantern, he was impressed with the branch I had found. What I needed now was some old tin for the top of the lantern, Winker, with his resourceful mind, thought, then said he knew just the thing. He went around the outside of the little church, and there leaning up against the wall was a sheet of rusty metal. It had my name on it. it was perfect even down to its patinated surface. Branch and tin in toe, I hastily made my way back to the Marchmont studios, where I asked Sam and Rich, the chair makers, if they could cut my branch. I then peeled back the bark to reveal the soul of the wood, its beautiful twisting grain, the marks of a previous life. I then had to think about the construction of the rest of the lantern. I rummaged around the chair makers' reject wood pile and found some oak and ash spindles, I would use these to make the rest of the frame. I was incorporating pieces of Marchmont's artistic community within its structure. It was quickly becoming a collaborative piece of work. I whittled the spindles to slot into the branch handle. Now I had the pieces to make the frame, but no tools to aid me. A trip to a local DIY shop provided me with the basic tools I needed. With hammer, saw, screwdriver, blade and wood glue and stain, I knew I could complete my task.
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I had the idea to see if I could go and visit the real lantern at The National Museum of Scotland in Edinburgh, to get a feel of the original makers' hand and to see how close (with basic tools) my construction was. I contacted the curator at the museum, who kindly made an appointment for the lantern to be taken from public display, for me to see and examine close up. I asked if anyone wanted to come with me, so Marchmont archivists Wilma and Jayne came with me. We saw the lantern, you could feel it's story, and imagine how it guided the many journeys the Grisell took to see her father.
I knew mine would be taller that the original, but it wasn't far off. Scrutinising the original, seeing its construction, put me in the shoes of its original maker. I wonder if they cut and bruised their fingers as much as I did, I imagine not.
I knew mine would be taller that the original, but it wasn't far off. Scrutinising the original, seeing its construction, put me in the shoes of its original maker. I wonder if they cut and bruised their fingers as much as I did, I imagine not.
I was now quite excited to complete the lamp. The original had marine ivory for the little door latch and knob, so I improvised by whittling some unstained ash. I visited the Kirk again, with my lantern in the hope Winker would have some furniture wax to polish it wish - of course he did. The final piece to completion were the little leather hinges for the door. Winker came up trumps again, leaving a little pot of antique leather offcuts and an old candle, at the front door to the Kirk for me to collect the following day. And then it was done. I lit the candle. It worked perfectly. I watched the lantern emerge as darkness fell.
A walk of remembrance
The lantern would not be complete without the midnight a journey along Lady's Walk, a reenactment of the perilous journey Grisell took to avoid being seen by the King's army. As night drew in, a group of 10 of us gathered and followed in Grisell's foot steps. We started at the ruins of Redbraes Castle then made our way past Marchmont house, with a quiet nod to the memory of Hugo and his vision. When reaching a point that we could see the Kirk in the distance, I told the group of my vision for the work to become an installation that you could walk into, sit and view Grisell's destination in contemplation. Within this lantern shaped shelter, a life-size portrait of Lady Grisell Baillie, would be illuminated, becoming a beacon of hope and guidance.
The walk continued, until we reached the Kirk. I placed the lantern at the small arched opening to the vault, the space where Grisell's father was once in hiding, there it shone its light. A moment was spent in quiet remembrance, for the bravery of Grisell, the Scottish Covenanters and the sudden recent loss of the man who I am sure would have joined us on this journey.
The walk back was quiet. As I departed the group, the lantern guided me back to my pod where I placed it on the picnic bench, the place I constructed it. I sat there for a minute, the the flame flickered and then was gone.
The lantern was ready to become a piece of art. I hope this lantern's midnight walk won't be its last, how wonderful if it could repeat its historical journey every year.
The walk continued, until we reached the Kirk. I placed the lantern at the small arched opening to the vault, the space where Grisell's father was once in hiding, there it shone its light. A moment was spent in quiet remembrance, for the bravery of Grisell, the Scottish Covenanters and the sudden recent loss of the man who I am sure would have joined us on this journey.
The walk back was quiet. As I departed the group, the lantern guided me back to my pod where I placed it on the picnic bench, the place I constructed it. I sat there for a minute, the the flame flickered and then was gone.
The lantern was ready to become a piece of art. I hope this lantern's midnight walk won't be its last, how wonderful if it could repeat its historical journey every year.
The portrait
As an artist who uses the sculpted portrait as a 'blank canvas' to create figurative works with a narrative, I wanted to sculpt Grisell.
But what did Grisell look like? This was a time well before photography, so painted portraits and maybe even a marble statue bust could be enlighten Grisell's visual identity. I managed to find a few sources of portrait paintings in collections of mansions local to Marchmont. One of which was hanging high on the wall of Paxton House in the library, and two others displayed at Mellerstain House. I visited them both with a guided tour. The Paxton House portrait of Lady Grisell Baillie (1665-1746) by John Scougal (c.1645-1737) painted in 1689, age 24.
Mellerstain House was Lady Grisell Baillie's home, she is also buried there. Not only could I see the two portraits I had seen online, there was also another I had not seen before, there was also a marble bust, high up on the wall, but I could just make out the profile of her nose, something a portrait sculptor needs to have any hope of a sculptural 'likeness'. Eerily, this portrait was copied from a death mask plaster cast. Although Grisell, looks quite different in all the paintings due to the stylisation of the artists hand, I did notice she had her fathers's eyes and distinctive shaped nose.
I made two portraits, a quick small sketch in oil based clay inspired by one of the portraits at Mellerstain, and a life-size sculpture inspired by a combination of all the portraits. I have also textured the surface to have a painterly appearance. Now the lantern can become a sculpture and the portrait can have its narrative being framed within its Marchmont story.
But what did Grisell look like? This was a time well before photography, so painted portraits and maybe even a marble statue bust could be enlighten Grisell's visual identity. I managed to find a few sources of portrait paintings in collections of mansions local to Marchmont. One of which was hanging high on the wall of Paxton House in the library, and two others displayed at Mellerstain House. I visited them both with a guided tour. The Paxton House portrait of Lady Grisell Baillie (1665-1746) by John Scougal (c.1645-1737) painted in 1689, age 24.
Mellerstain House was Lady Grisell Baillie's home, she is also buried there. Not only could I see the two portraits I had seen online, there was also another I had not seen before, there was also a marble bust, high up on the wall, but I could just make out the profile of her nose, something a portrait sculptor needs to have any hope of a sculptural 'likeness'. Eerily, this portrait was copied from a death mask plaster cast. Although Grisell, looks quite different in all the paintings due to the stylisation of the artists hand, I did notice she had her fathers's eyes and distinctive shaped nose.
I made two portraits, a quick small sketch in oil based clay inspired by one of the portraits at Mellerstain, and a life-size sculpture inspired by a combination of all the portraits. I have also textured the surface to have a painterly appearance. Now the lantern can become a sculpture and the portrait can have its narrative being framed within its Marchmont story.
The artwork
The work now sits in my studio ready for finishing and casting with the ambition of returning to Marchmont and telling a story of courage and determination.
Pilgrim - Lighting the Darkness
2023 Wood, Glass, metal, (portrait to be cast in bronze) |
The lantern with candle.
Lady Grisell Baillie (work in progress) |
The residency comes to an end
Developing ideas back in my studio
I love scrutinising objects. Using a macro lens I can focus on different parts of an object, often noticing things I had not before. I am developing an idea of recording Lady Grisell Baillie framed within her lamp, it's as if her story has been encapsulated, captured and held like words in a book. I love how she can be viewed from different angles, different perspectives. Each of these images tell their own story, a long story of many chapters.
Next chapter to make moulds and cast the portraits.
Next chapter to make moulds and cast the portraits.
