JUNE 2017 | The Collective Responsible For


The Collective Responsible For (TCRF) is an international artists’ collective founded in Dundee, Scotland that emphasises the construction of social interactions and occurrences that often take the form of festive events.


'TCRF are using this space to realise our social responsibility as a catalyst for change, with belief as an undertone to push our ideas forward.'


Image: The Collective Responsible For, 2017

AUGUST 2017 | Jamie Watt


Jamie Watt draws on the anti-authoritarian, darkly comedic and democratic ethos of Scottish Art to investigate cultural tribalism, power structures and the fluid nature of truth and knowledge. Inspired by the theological and social forces that forged the modern world he merges the ecclesiastical with the proletarian and the historical with the contemporary to create iconoclastic arrangements. Spanning a wide range of media his practice often focuses on the recontextualisation of historical characters or artefacts to create a new discourse and understanding surrounding contemporary cultural identity.


Image: Jamie D Watt, Making aluminium ingots, 2016.

AUGUST / SEPTEMBER 2017 | David Mackay


David Mackay studied Art, Philosophy and Contemporary Practices. He was awarded the Royal Scottish Academy of Art & Architecture John Kinross Scholarship to study in Florence. During his time there he suffered a terrible loss. His current practice is concerned with working through his personal fragmented mythology, psychology, depression, happiness, memory, relationships with others and notion of self. A recent collaborative exhibition at Patriothall Gallery in Edinburgh titled ‘Give Me the Sun’ explored some of these themes which he now seeks to build and elaborate upon.


Image: David Mackay, ‘We Know Not What We Do’, 2016

AUGUST / SEPTEMBER 2017 | Marwan Moujaes


My objective during the residency in Collemacchia is to capture signs from local places and turn these into images. Drawing on the history of the region, the ancient and contemporary migratory context and the ‘sublime’ of the landscapes, I will produce dialogues and assemblages to enable the design of new approaches to landscapes with the inhabitants of the region.


Offered in collaboration with artconnexion, Lille and funded by the Institut Français.


Image: Marwan Moujaes, 'Stream', 2017, acrylic painting on canvas mounted on wood, stand for television screen. (A commercial painter was asked to paint a landscape deserted after the outbreak of war in Syria.)

SEPTEMBER / OCTOBER 2017 | Lee Hassall


During my time in Collemacchia, I see myself - walking, drawing, working - with still and moving images, and being silent. I will use judiciously ‘performed’, carefully ‘attuned’ (spoken) text to layer, alter, shatter, and/or transform normative modes of relating to and representing the picturesque1, landscape or place.


1 The etymology of the word ‘picturesque’, is revealed as being after the manner of painters, from the Italian pittoresco. With the Italian derivation ‘pittoresco’ - ‘pittor’ (“painter”), ‘esco’ (“like”), we have the supposition that the picturesque has little to do with landscape itself but is more a case of the picturesque being in the painter (or artist).


Image: Lee Hassall, ‘Haiku: Drafting – Baltic 39, Newcastle’, 2014.