Dugald MacInnes trained in mural design under George Garson at Glasgow School of Art from 1970 to 1975, graduating with a diploma and post diploma in art and design. In 1985 he gained a degree in geology at the Open University. Eight years later he successfully completed a three-year course in field archaeology at the University of Glasgow and he is currently directing a major field survey in Perthshire and is editor/co-editor of twenty-nine archaeological papers.
MacInnes has also contributed to two geological papers on the subject of igneous dyke emplacement in southern Scotland for Lancaster and Warsaw universities.
With respect to his art, he has exhibited in Scotland, the USA, England, France and Italy and has gained awards both domestic and international.
Although images of an archaeological nature have been used, for example in his standing stones series, MacInnes’s work over the past several years has centred on a geological context in which he attempts to convey an emotional response to the vast geological forces that have and continue to shape our planet and the precarious nature of our existence in the face of these destructive forces, thus, in a way, challenging our notions of national identity.
The use of geology to express the emotional response to geology he calls ‘Lithospherics’.
‘I am aware of the fragility and unpredictable nature of our planet and of our potentially transient existence upon its surface.’
MacInnes works principally with slate. This versatile material is mainly sourced from disused quarries in Scotland, particularly the islands of Seil and Luing, but he also uses stone from Cornwall, England, in the Loire Valley, France, and last year he used shales from Tuscany in Italy.
Recently, he has begun experimenting with colourful varieties of Scottish shale that he obtains near his home in Kilsyth.
‘The materials that I use are employed to create texture and colour within, what I hope, are compositions that are interesting to the eye, led by the natural warmth of the stone.’
The landscape, geology and archaeology of the west coast of Scotland have, and remain, the principal source of his artistic expression. Prehistoric standing stones, rock art and the evidence of the Earth’s geological past, for example, igneous dykes, lava flows, and the evidence for faulting and folding in the slate, all contribute to MacInnes’s creativity.
MacInnes has also contributed to two geological papers on the subject of igneous dyke emplacement in southern Scotland for Lancaster and Warsaw universities.
With respect to his art, he has exhibited in Scotland, the USA, England, France and Italy and has gained awards both domestic and international.
Although images of an archaeological nature have been used, for example in his standing stones series, MacInnes’s work over the past several years has centred on a geological context in which he attempts to convey an emotional response to the vast geological forces that have and continue to shape our planet and the precarious nature of our existence in the face of these destructive forces, thus, in a way, challenging our notions of national identity.
The use of geology to express the emotional response to geology he calls ‘Lithospherics’.
‘I am aware of the fragility and unpredictable nature of our planet and of our potentially transient existence upon its surface.’
MacInnes works principally with slate. This versatile material is mainly sourced from disused quarries in Scotland, particularly the islands of Seil and Luing, but he also uses stone from Cornwall, England, in the Loire Valley, France, and last year he used shales from Tuscany in Italy.
Recently, he has begun experimenting with colourful varieties of Scottish shale that he obtains near his home in Kilsyth.
‘The materials that I use are employed to create texture and colour within, what I hope, are compositions that are interesting to the eye, led by the natural warmth of the stone.’
The landscape, geology and archaeology of the west coast of Scotland have, and remain, the principal source of his artistic expression. Prehistoric standing stones, rock art and the evidence of the Earth’s geological past, for example, igneous dykes, lava flows, and the evidence for faulting and folding in the slate, all contribute to MacInnes’s creativity.