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John Lowrie Morrison (Jolomo)
John Lowrie Morrison has painted the west coast of Scotland since the early 1960’s. He paints the light of the west - the light that bathes the Inner & Outer Hebrides.
He uses strong colour to express that light and sees his paintings – not in the traditional chiaroscuro of light and dark - but in darkness versus colour,which is what his painting is about: an allegorical description of the human spirit.
Morrison’s roots are in the Outer Hebrides – Kyles. Isle of Harris – where family cousins still work and live. Many childhood visits to family on Skye at Portnalong gave him a love of the croft.
The Croft endures even as a ruin but eventually only the rocks will remain.
Morrison records the human imprint on Argyll and the Isles and informs his paintings by a study of the geography, history, geology and - most of all - folklore of a particular area.
Simple human imprints have always been important to him: the pole next to the croft, carrying power or phone lines; the gate from croft to shore or runrigs, the ladder constantly leaning against the croft wall – signifying the constant struggle against water & wind. And of course the peat stack – becoming rarer and rarer as island families rely less on peat.
John Lowrie Morrison has painted the west coast of Scotland since the early 1960’s. He paints the light of the west - the light that bathes the Inner & Outer Hebrides.
He uses strong colour to express that light and sees his paintings – not in the traditional chiaroscuro of light and dark - but in darkness versus colour,which is what his painting is about: an allegorical description of the human spirit.
Morrison’s roots are in the Outer Hebrides – Kyles. Isle of Harris – where family cousins still work and live. Many childhood visits to family on Skye at Portnalong gave him a love of the croft.
The Croft endures even as a ruin but eventually only the rocks will remain.
Morrison records the human imprint on Argyll and the Isles and informs his paintings by a study of the geography, history, geology and - most of all - folklore of a particular area.
Simple human imprints have always been important to him: the pole next to the croft, carrying power or phone lines; the gate from croft to shore or runrigs, the ladder constantly leaning against the croft wall – signifying the constant struggle against water & wind. And of course the peat stack – becoming rarer and rarer as island families rely less on peat.
A Jura Sunset from Port Nan Gallan, Keills - Open Edition Giclée Art Print GICLJMP056
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Autumn Gloaming, Isle of Gigha - Limited Edition Giclée Art Print GICLJMG101
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Autumn Gloaming, Tobermory, Mull - Open Edition Giclée Art Print GICLJMP017
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Autumn Light at Kilchattan, Isle of Colonsay - Open Edition Giclée Art Print GICLJMP059
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Autumn Light, Pennyghael, Isle of Mull - Limited Edition Giclée Art Print GICLJMG102
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Beached Boats, Isle of Harris - Limited Edition Giclée Art Print GICLJMG109
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Beached Boats, Loch Indaal, Islay - Open Edition Giclée Art Print GICLJMP035
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Beached Clinker at Croig - Limited Edition Giclée Art Print GICLJMG105
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Ben More, Isle of Mull - Open Edition Giclée Art Print GICLJMP002
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Church and Boats, Arinagour, Isle of Coll - Open Edition Giclée Art Print GICLJMP038
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Croft and Moon, Isle of Gigha - Limited Edition Giclée Art Print GICLJMG106
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Croft, Boats & Hens, Ballygowan, Isle of Mull - Open Edition Giclée Art Print GICLJMP008
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