Tim Fitzpatrick originally trained in documentary photography in Newport, South Wales. After completing his studies in 1987 he then worked with the photographer and publisher Colin Baxter as picture editor, specifically in the creation of new audio visual productions. At this point Tim also began the first of his many collaborations with the poet Jim Crumley.
Through the 1990s Tim Fitzpatrick’s work developed into film making and many commissions were carried out for cultural, history/heritage related projects. A number of these projects brought him to work with the poetry of Robert Burns, in particular “Pride and Passion”, a commemorative exhibition for the National Museum of Scotland.
From 1999 onwards a series of personal film projects involved collaboration with poets Jayne Wilding, Yvonne Gray and Jim Crumley, and poetry has continued to be key to much of the work since then.
Since 2004 Tim Fitzpatrick’s ideas for film have increasingly been resolved as site-specific light and sound pieces: Ray of Light for Pittenweem Arts Festival, The Pilgrim for Dunfermline Abbey and Clash Close for the Cupar Arts Festival.
More recent projects such as Another Land and The Fragments project have been concerned with creating a framework where the underlying narratives develop in the public domain over longer periods of time: months or even years for a given project. This approach is aimed at experimenting with a range of outcomes and allowing space for core elements to evolve as well as for public inputs and interactions.
Tracey McConnell-Wood has an honours degree in Fine Art, worked for seven years in television design and has a Post Graduate Diploma in Electronic Imaging.
For several years she taught in the School of Media Arts and Imaging at the University of Dundee across undergraduate and post graduate programmes. From 2002 to 2008 she was member and latterly chair of Fife Arts Cooperative, responsible for working with WASPS to bring the Steeple in Newburgh, Fife to fruition.
Since moving to Scotland in 1993, she has undertaken numerous artist’s commissions and residencies, as well as curatorial and administrative roles that have involved social engagement in art and design.
In October last year, she joined Jeanette Sendler and Alison Mountain at Hat in the Cat to assist with the launch and development Big Cat Textiles, centre for international teaching and learning, in Newburgh.
Sean Dooley studied mathematics at university before completing an MA in documentary photography. Since 2000 he has been freelancing and exhibiting work in both solo and group exhibitions.
I am inspired by changes in the world around me, and enjoy exploring the way people relate to this change; in particular the ways our lifestyle and our characters are influence by change, and also the effect these changes have on the natural world. This has manifested itself in a number of projects.
One such project involved documenting a collection of crumbling artwork I discovered decorating the walls of the clocktowers of a local church. The posters had been put there by a long forgotten church beadle or clock engineer to brighten up the environment. Portraits of past kings and queens rubbed shoulders with the society pages from newspaper and old posters. Another project involved making 19th century style portraits where the subjects were required to sit still for exposures that were sometimes as long as eight seconds – I wanted to see if anyone was capable of the sort of stillness people had in past times when we now grow up and spend our lives being bombarded constantly with information and stimuli. The current project I am dedicating most of my time to is documenting endangered and extinct species of animals through the specimens held by museums – taxidermy and skeletal matter, and in some cases bones. The objects are a poor second best to animals in the wild, but when the animals no longer exist in the wild these specimens become incredibly precious and important.
My work tends to be formal in technique but informal in approach. I use many cameras to do the work that I do, but most of my work is film based – often medium or large format – which requires me to be diligent in my technique and careful in my selection of subjects. Where it is more appropriate I also use digital, which allows photography in some situations where film simply isn’t capable of producing an image, and for some work I use even more traditional alternative processes, such as using photographic paper to produce negatives, or cyanotype processes to produce prints.
In my future work I hope to further develop my exploration of change in our environment and the effects that this change can have on our lives.
Ali Maclaurin trained in theatre design in Edinburgh and Croydon before spending the 1980’s in London designing shows for fringe theatres such as Battersea Arts Centre, Hull Truck and the Albany Empire, Deptford.
She was a founder member of the acclaimed touring company, the Shadow Syndicate, a four times fringe first winner, and began her work with Theatre Peckham (then New Peckham Varieties) to which she originally had a five minute bike ride and now has an overnight train journey. Since then she has designed, devised, made, facilitated and taught all over the country.
In the 1990’s she was resident designer with the Belgrade Theatre in Education Company and designed several community plays in venues from East End derelict churches to Scottish border stately homes. She designed for TAG, Scottish Opera for All, the Duke’s, Lancaster, Other Voices and Theatre Venture among others before the birth of her son in 1995 necessitated sensible hours (and money!) when she took up a fulltime university teaching post.
In 2004 she returned to Scotland and set up a costume design degree at Queen Margaret University before returning to a freelance career in late 2007. Since then she has worked for Skinreach, designed the fringe first winning show, ‘The Tailor of Inverness’ for Dogstar Theatre, worked on projects for Scottish Opera and designed several shows for Licketyspit as well as teaching stage design part-time at Adam Smith College. She has begun creating work for under 5s and is very inspired by this new development in her work
Ali is particularly interested in musical and physical theatre and in working collaboratively to create new work. She loves to play with texture and is a keen knitter. She lives by the sea in Kinghorn with her husband and son and 120 teapots.
Babs McCool studied sculpture at St Martins School of Art then trained as a stonemason, working in the restoration trade in Dorset before joining an arts collective in Manchester.
Returning to Scotland in the late 80s, Babs has been working as a project manager for the community radio, art and design research, housing, public art commissioning, and currently, health, sectors.
Babs lives next to the Forth and Clyde Canal in Falkirk, has a grown up son and dreams of sailing to Edinburgh and Glasgow for nights out in her new (old) cabin cruiser.