rock frottage
weather-stone series 2026
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weather-stone (Lewisian gneiss, Bheinn Scolpaig) 2026
pastel, wax and linseed oil on handmade washi paper; mounted on cradle; 80 x 61cm
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weather-stone (Quartz ridge, Bheinn Scolpaig) 2026
pastel, wax and linseed oil on handmade washi paper; mounted on cradle; 80 x 61cm
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weather-stone (Rose Quartz, Bheinn Scolpaig) 2026
pastel, wax and linseed oil on handmade washi paper; mounted on cradle; 80 x 61cm
weather-stone, is a site-responsive series tracing how stone, touch and climatic forces shape the experience of place through frottage. Made at Bheinn Scolpaig, North Uist, the stone frottage drawings bring touch, place and weather into direct relation. As ancient rock textures are transferred onto handmade washi paper, each drawing records an encounter with the landscape and the shifting climate of the Outer Hebrides. Together, these encounters form an archive of Bheinn Scolpaig, preserving the pressure and texture of its making while recording a landscape continually shaped by weather and time.

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Falls, 2025
pastel, wax, Kitakata Gampi paper, on plywood cradle; 120 x 80cm

Falls uses frottage to record rocks scoured by a waterfall, creating a swirling image that evokes cascading water more than stone. Through touch, handmade Japanese paper and coloured pigment, it traces intimate exchanges between surface, environment, material and maker.
Falls, 2025
coloured pigment, Awagami Kitakata Gampi paper, wax, on plywood cradle; 80cm x 120cm

Metamorphic, 2023
pastel, wax, Okawara paper, on plywood cradle; 140 x 97cm
Metamorphic, was made using the 'frottage' drawing process to transform the tactile surface textures into a visible artefact on paper. This process resulted from pigment being drawn onto Japanese paper that was laid onto a Lewisian gneiss outcrop at Scolpaig, North Uist, Outer Hebrides. Gneiss is a crystalline, metamorphic rock formed by immense heat and pressure deep within the Earth’s crust. Lewisian gneiss is 3.0 - 1.7 billion years old and is found in thrust faults formed during tectonic events that produced the Caledonian mountains.
The mark making was created through gentle stroking with pigment sticks onto the delicate paper to expose the fissures etched into these ancient, weathered rocks. The colour palate creates a visual link to the roar of its oceanic location where I experience this cold, harsh environment through a sustained, uncomfortable execution of the work. These facets of bodily engagement contribute to the transformative process of intimate encounter between maker, materials, environment and surface.

image credit: Sian Donkers
