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Applications are now open for Space/Time October 2019

Our next Space Time retreat will run from 4th-9th October 2019 at Cove Park in Argyll and the application process is now open. Experienced artists from any art form are welcome to apply by the deadline of 1pm on Friday 21st June.

Space/Timeis a paid creative retreat for experienced artists from all disciplines that asks the question “How does an artist keep developing?”

It aims to refresh participants through a stimulating examination of creativity. During the residency, we will explore how creativity can be nourished and how artists can continue challenging themselves to develop.

The residency combines facilitated dialogue - built around a series of self-generated questions - with time for individual reflection and work. It is led by Nicholas Bone and Alice McGrath.

 You can find out more about how to apply here and if you need any more information please get in touch with us at This email address is being protected from spambots. You need JavaScript enabled to view it..

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Fusing the work of two artists

Annie George and Flore Gardner’s collaboration, Twa, comes to the Traverse Theatre for two nights later this month, following a successful run at the Scottish Storytelling Centre during last year’s Fringe. Both artists have participated in Magnetic North’s Rough Mix and Space/Time programmes so I met with them to find out about how that might have influenced their ways of working.

The two artists have come together from quite different backgrounds to forge this compelling cross-artform collaboration. Annie is an award-winning writer, director and performer and she wrote and performs in Twa. She turned to writing after struggling to find work that she wanted to direct.

Once the pair had agreed to create a performance together, Annie sent Flore a short script she had written as a starting point. “It’s got a lot of imagery in it and Flore liked it,” Annie says, “It was quite visual so it sparked off lots of ideas.”

Flore is a visual artist. “I draw on paper, quite small formats, and my subject is the human body,” she explains, “I don’t set out to draw the human body but I end up drawing the human body all the time. I also do alternative forms of drawing. It could be, for example, wall drawing or long durational performance drawing or drawing live in theatre.”

It’s this last type of drawing that features in Twa, though figuring out how to integrate the drawing element into a live performance was not without its challenges. As an artist used to working alone, Flore was initially reluctant to appear on stage: “I had a red line, which was I refused to speak on stage!”

Annie explains a bit about their process: “We spent a lot of time trying to work out how to do the projection. We were trying to work out how to make sure it didn’t draw away from the performance. At first [Flore] was going to be sitting in the audience drawing on a tablet, then we were thinking she would be on the stage with an overhead projector at one point.”

“It’s also because I wanted those two different temporalities,” Flore continues, “I wanted to have made the projections, the animated drawings, beforehand and then draw live during the actual performances. That’s two different kinds of time and drawing. We did spend a lot of time sorting that out. And also [Annie] finishing off the text and I doing different drawings then [she’d] change the text and I’d change the drawings again and that lasted for quite a long time.”

Encouraging this type of interplay between disciplines is at the heart of Rough Mix. However, Twa didn’t come about until after the pair had participated in the programme. It was Flore and Annie’s relationship, both personal and professional, which came out of their time at Magnetic North’s two-week creative lab at Eastgate Theatre in Peebles in 2017.

“We shared a house so even though we didn’t see each other during the day we’d talk at night,” Annie tells me, “and then Flore came to see my show the following month. Then she came back in October and we went out and I said ‘Right, let’s make a show then’ because we were always moaning about our work and, I suppose, the themes that led on to Twa, about not being heard and being stretched in a lot of different directions and the importance of our art to us.”

Flore agrees that connecting on a personal level as well as a professional level was important for their working relationship. “We talked about lots of personal stuff really, but I think that my everyday life is completely intermingled with my work,” she says. “I can’t separate the two; one is so much part of the other.”

This duality is at the heart (and in the title) of Twa: it mixes the contemporary and the mythical, intertwines two different women’s stories and fuses the unique work of both of these artists.

If you missed it at the Fringe last year, you can see it at the Traverse Theatre next week, 24th-25th May.

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Shifting Identity

Prior to my artist attachment with Magnetic North I simply identified as a Scottish theatre maker. I’m six months in and I’m finding this is starting to shift. 


The purpose of my attachment was to integrate my recently completed MSc in Sustainable Rural Development into my arts practice. One way I identified of doing this was to focus on the divisive issue of rewilding in Scotland. This line of inquiry has lead me to discover a new network of artists, researchers and scientists, as well as reconnect with old colleagues and friends. It’s taken me to numerous rewilding projects across Scotland, to festivals, conferences, talks in community spaces and various SSIs (Sites of Special Scientific Interest). Its given me an insight into the conversations that are being had in the arts sector, and beyond, about rewilding, climate change, land management and land reform. 

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A creative retreat

On 13 March five artists will go on a creative retreat we call Space/Time at Lyth Arts Centre in Caithness.

Space/Time is a paid creative retreat for experienced artists from all disciplines that asks the question “How does an artist keep developing?”

It aims to refresh participants through a stimulating examination of creativity. During the residency, we will explore how creativity can be nourished and how artists can continue challenging themselves to develop.

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Lost in Music

From about the age of 11 onwards I was obsessed with music. I developed all the usual symptoms: buying too many records, taping songs from the radio, learning the guitar. I progressed along the well trodden path of buying albums rather than singles - spending hours in record shops flicking through vinyl with fellow obsessives - going to gigs, following obscure paths to new music, and playing in a band. The music I listened to between the ages of 11 and 21 probably had more effect on me than pretty much anything else: it affected how I dressed, how I spoke, and who I was friends with; it led me to books, films, and artists I might never have discovered otherwise. For better and worse, it made me what I am today.

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