A Two and a Half Ton Spectre

“Wow! This is amazing,” I think, as I lose some of my initial downhill apprehension. My mind wanders as I navigate boulders, rocks and roots, buzzing with thoughts and adrenaline. I didn’t know you could have so many ideas and reflections while concentrating so hard on coordinating yourself and a bike into not crashing.

I was negotiating the red trail at the Mabie mountain bike centre in Dumfries. It is one of the 7stanes mountain biking centres dotted around southern Scotland. I am here to visit one of the Seven Stanes artworks, a series commissioned by the Forestry Commission Scotland specifically for the seven mountain biking centres. The lead artist on the project was Gordon Young, who worked on the project with associates Russell Coleman and Ronnie Heeps.

As I set out in the glorious sunshine, on the single track leading into the beautiful forest wondering whether my visiting the work by full suspension mountain bike was contextual or an excuse for a great day out, a large headless white figure appeared in my peripheral vision. This two and a half ton spectre of marble stood boldly, yet subtly, amongst the trees. I had found the Ghost Stane.

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Quests and Satisfaction

As I cycled onwards, I immediately realised that encountering the sculpture while biking or as part of another leisure activity was intrinsic to the experience of the work. It became the vehicle for an adventure that was already underway, and I found myself planning a visit to another centre to hunt out another work and ride another trail. Talking to Colin Williamson from the Forestry Commission this quest element seems to have been an important part of the conception and development of the project for both the commissioners and the artist. It serves as a marketing tool to encourage multiple visits and tourism to the area and as a way to incorporate elements of intrigue, challenge and fun. They are even running a competition to complete a puzzle by collecting clues from each of the Stanes.

I felt that by identifying these objectives with an honest approach, the project seems to have avoided the pitfalls of some recent public art commissioning, where the project has to cover so many remits and hidden agendas. What starts off as art, supposedly for public art’s sake, suddenly must completely regenerate entire communities, encouraging economic growth and revolutions in attitude, while providing aesthetic satisfaction to all who look at it.

However, hearing about the development of the project from the beginning stages through to the opening event made it apparent how multi-faceted it was, both in terms of its aims and objectives, and in the amount of activities that took place along the way. Colin credited the successful execution of this ambitious project to the professionalism of the artist and his associates throughout all the stages. One part I found particularly interesting was that local school children were given stone carving workshops to create sculptures that will be sited locally in Ae. While creating awareness and encouraging local involvement, this also provided an exciting opportunity to try a skill they would not normally have access.

There is also an accompanying book produced by Ronnie Heeps in which an imaginary professor tries to unravel the mystery of the Stanes. Embedded within this story is the background to the Stanes, local history and other places of interest in the surrounding areas. A lovely idea for a mini visitors’ guide both for adults and children, with all sorts of snippets of information, although I had trouble bonding with the character of the professor.

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Contemporary Landmarks

As my paced slowed dramatically on a steep incline, I decide to stop and look at the breathtaking view – it was nothing to do with my fitness levels and total breathlessness. Others had chosen the same option and we chatted about the trail.

They had visited a few centres and had been noticing the Stanes. They were intrigued, puzzled and pleased by the Stanes, describing them as victory markers, especially the ones further along trails or at peaks, and they were naturally becoming used as rest and meeting spots – places to stop, relax, and reflect. It reminded me of the way that tourists often navigate the geography of a city through its landmark buildings and monuments, while those who inhabit the city give these places alternative functions and meanings, such as congregation spots for specific social groups or subjects of urban legend. With the uncertain origins and purposes of more ancient structures such as standing stones, I wondered how the narrative of the Seven Stanes would develop over time, when speculation and myth may replace the real history and accompanying printed material.

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The First Stane of Many?

From a personal perspective, this project has provided me with a new pastime that I am very eager to try again, and has been successful in once again reminding me just how beautiful Scotland is. The tourist industry of Dumfries and Galloway suffered massively at the hands of the foot and mouth outbreak at the beginning of the decade.

In an area heavily populated by artists, one of the few positive outcomes of this terrible period was an increase in funding for public art projects, to encourage people to start visiting and moving around the area again. There are a few large-scale projects underway at the moment, such as Andy Goldsworthy’s project ‘Striding Arches’. (1)

The day after my visit, I received an email from Colin: The Forestry Commission had just received their first completed puzzle with accompanying pictures. Although a little jealous that I hadn’t got there first, I felt really excited, and continue to hope that many others will take up the challenge.

Editor’s note:

(1) For more information about Striding Arches, try the PAR+RS archive and www.stridingarches.com

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