Samhla - about the project

Samhla, Lauren Gault collage (detail from archival photo showing small dogs on Skye shore and image taken onsite at 11 Fàsach), 2023

In 2022, Lauren Gault was invited by ATLAS and Tuath – a cultural project exploring land and place relations with James Oliver, at 11 Fàsach, Glendale – to visit the former croft at Fàsach and to think about the question: If the land could speak and you were listening, what would you say back?”

Together, we are now planning a range of sculptures, gatherings and events exploring folkloric, paleontological, political and other histories underfoot at Fàsach (loosely translated as wilderness, wooded underworld, wild place) – and the ways Fàsach connects with other places.

Lauren’s work engages with many different fields, including agricultural policy, biomaterials, palaeontology, archaeology, and sound. Lauren is interested in delving into canine and lupine histories in Skye (learning more about former wolf pits and fossil finds), rewilding, methods of signage and communication, and Skye landscape decisions over long time periods.

Drawing connections between issues such as historical bans on crofters owning dogs, the contentions of rewilding (without repeopling’), wolf reintroduction in Scotland, and other landed histories – we will experiment with different ways of encountering objects and voices in the landscape, and ways of measuring place’.

Visit the project pages to find out more about the various people involved in the sculptural research so far.


With support from Henry Moore Foundation and Creative Scotland Open Fund.


GAELIC samhla n. masc. /​sãũLə/​pl. ‑ichean ENGLISH 1. figure, sign, symbol 2. shape, form 3. allegory, metaphor 4. likeness, (re)semblance, simile 5. example 6. apparition, vision (spiritual)

Samhla Supporters

This work came together thanks to a long list of supporters, including archaeologists, palaeontologists, classicists, placename researchers, folklorists, crofters, scanning technicians, historians and so many others.

Special thanks are due to the following contributors.

Dr Fernando Alvarez-Borges, Maria Stagno Navarra, Bethany Harding, Ehsan Nazemi, University of Southampton

Professor Meg Bateman, Sabhal Mòr Ostaig - UHI

Callum, Highland Clearances Ltd

Richie Carey, sound artist

Dr Bianca Cavassin University of Glasgow

Professor Hugh Cheape, Sabhal Mòr Ostaig - UHI

Dr Neil Clark, University of Glasgow

Caroline Dear, artist

Dr Kate Dobson, University of Strathclyde

Dr Katharine Earnshaw, University of Exeter

Chrissie Gillies, crofter

Glasgow Sculpture Studios

Katharine MacFarlane, Performer and Poet

Catherine MacPhee, Anne Beaton and Grace Wright at Skye and Lochalsh Archive Centre

Seaoras MacPherson

Emmie McCluskey and School of Plural Futures

Cheryl McIntyre, crofter

Dr Elsa Panciroli, University of Oxford

Jeannette Pearson, Inverness Museum & Art Gallery

Romesdal Common Grazing Crofters

Angus Ross, Staffin Community Trust

Duggie Ross, Staffin Dinosaur Museum

Philip Salter, University of Strathclyde

Dr Giacomo Savani, University of St Andrews

Ross Sibbald, Rumenco

Linda Spence, Clan Donald Lands Trust

Stig

Steve Taylor, author

Yvonne White, Scottish Crofting Federation