Collective Gallery, Edinburgh, 2022

Untitled (re/decomposition 4, 1871, 2021, 2022), 116 x 80cm, 2022
Silver Gelatin Print; Blackened Oak Frame.
cc: ‘Scottish Landscape’,1871, oil on canvas Robert S Duncanson;
rum and whiskey; accumulated matter (mould), stilled after (duration) one year.

Untitled (blue re/decomposition 2015, 2022), 82x46cm, 2022
Submerged Kodak Metallic Print; Acrylic Tray; Hand Painted Oak Frame;
Wray & Nephews Rum, scottish water
cc: Brownes Beach, Barbados.
Photographed at 1 week. 

details, Untitled (blue re/decomposition 2015, 2022), 82x46cm, 2022
Photgraphed at Week 3 and 4 respectively.

1695, 2022 4.25am, 29mins 16secs 4K (looped), 2022
Marine Esplanade, nestled between the Port of Leith and Seafield Waste Water Sewage Works.

(filmstill)) 1695, 2022 4.25am, 29mins 16secs 4K (looped), 2022

2022 (dimensions variable)
Oak, oil, charcoal, water from Blackness Bay and woven cord.
Designed and fabricated by Joseph June Bond.

2001, 2022,  2m13, HD video,, 2022
child’s play, beach, misremembered in Jamaica

backwash can refer to the cleaning of filters, the receding of waves, backward currents or the reverberations of an event. It is also a name for the saliva-infused liquid at the bottom of drinking vessels. These overlapping meanings serve as anchor and guide for an installation that emerges from silt, sediment and the life and collapse of the Company of Scotland Trading to Africa and the Indies.

Works in backwash have been developed through ongoing collaboration with Sharif Elsabagh, Andrew Black and sound and spatial designer Joseph June Bond, who has produced a new sound work for the exhibition drawing from a shared library of bodies, and bodies of water,.

Listen to the sound work here.

Read Seán Elder’s commissioned response here.

Supported by Creative Scotland and The Elephant Trust

Photos by Tom Nolan