A Winter's Tale from The Good Shepherd
Knitwear designer Emily Watts of The Good Shepherd retreated to Scotland to take up a residency on the Inshriach Estate as part of The Bothy Project. Inshriach consists of 200 acres of natural woodland and pasture, bordered on the North side by the Spey river, and to the South by the Inshriach forest and the foothills of the Cairngorm mountain range. Over a week, Emily immersed herself in the landscape, emerging with sketches, photos and reflections on process and place. Upon her return she crafted a unique collection of soft textiles, exclusive to The New Craftsmen. \n
\n \n \n\n \n Emily sketching in Inshriach Bothy \n
\n \n \nThe Bothy Project is a growing network of small-scale, off-grid art spaces in distinct and diverse locations around Scotland and beyond. The objective of the residencies is to create platforms for artists and researchers to journey and explore the history, landscape and people in the areas surrounding the bothies. For Emily, this residency was an opportunity expand her practice beyond textiles. Ordinarily, most of her time is taken up with sampling and making products, so much so that she often longs for a space to think, free from distraction.
\n \n \n\n \n The Bothy in the Forest (photo courtesy of The Bothy Project) \n
\n \n \nEmily arrived in the Eastern Highlands on Christmas Eve, on the sleeper train, in the middle of a snowstorm. Given the season, she felt especially removed from daily life – from the routines and expectations associated with this time of year – but this suited her perfectly. Located within the Cairngorms National Park, Inshriach Bothy was designed by architect Iain MacLeod and artist Bobby Niven. The bothy was built in 2012 with the support of the Royal Scottish Academy and Edinburgh Sculpture Workshop. The placement of this small cabin was important, providing the artist with shelter whilst also drawing them into the landscape. \n
\n \n \nGiven the low light, and the off-grid aspect of the residency, it was important for Emily to manage her time. Much of her relationship with the landscape was defined by a need to gather the essentials: collecting fresh water for washing, drinking and cleaning required a two-mile round journey; wood for the fire had to be selected and cut to ensure food could be prepared, and that the bothy stayed warm and dry. Being without technology and electricity allowed Emily to take advantage of the daylight hours – to pay attention to her surroundings, and so she carried her sketchbook everywhere. In this sense art and life came together, realised via an easy interplay between survival and wonder. \n
\n \n \n\n \n Patterns & Peaks in the Woodlands \n
\n \n \nAs the small daily tasks encouraged her outdoors, Emily began to enter a routine of sketching, walking and thinking. With each day she ventured further and further, driven by a desire to engage with the Cairngorms, to capture them from near and far, to interpret the patterns and the peaks, the colours and the light. This routine began to feel like an elastic band – a challenge of sorts – testing Emily to see how far she could go and return before the light began to fade. Eventually, she reassessed her understanding of home, of shelter, expanding the boundaries to include the security of the woodland, and the comfort of the mountain ranges. \n
\n \n \n\n \n Design by Candlelight \n
\n \n \nEach evening Emily engaged in a process of hibernation, surrounded by a warm blanket and gentle candlelight. Investigating the dancing shadows became a fascination, revealing abstract forms and subtle layers of tone and colour. During the day, she would revisit these sketches and assess the same objects in the subdued Winter light, with the intention of creating a contrasting study. This process of observation and reflection expanded to include writing, photography and spoken word. But there was never enough time, and Emily was forced to slow down and accept the natural pace of life.
\n \n \n\n \n The Woodland in Snow \n
\n \n \nAs we approach Christmas once more, Emily has had a year to reflect on what most inspired her about her time in the wild and remote North. Without hesitation she says:
\n“It was the quality of light, I miss it now, it framed and accentuated everything. It would change from low and misty to sharp and bright within minutes, always offering a fresh perspective, new shapes and colours. I also enjoyed observing and abstracting the form of the mountains and treetops, as well as the textures in the lichen or bark. I always tried to do this in a focused way, only looking at one element so that I could achieve a modern, clean aesthetic.” \n
\n \nUndoubtedly this experience has changed Emily’s work, revealing a graphic, natural quality, born from contrasting monolithic forms, with shadow play and simplified design. Each new piece is a reflection on seclusion – on Emily’s time alone, in the middle of a vast and beautiful landscape.
\n \nWith thanks to Emily Watts, The Good Shepherd, for sharing her notes on this wonderful experience.
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