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ARTLINK Annual Review 07/08

Artlink believes that participation in the arts plays a significant role in achieving personal goals and social change

Contents
The Bigger Picture page 2
An introduction to individual experiences

Coming Out Fighting pages 9 - 10


Supporting involvement and participation in the arts a mothers perspective

A Flaw in the System pages 3 - 4


A personal account of changes within physical disability support systems

Get Back on your Feet, pages 11 - 12


A success story

A Strange Learning Curve pages 5 - 6


Coping mechanisms within mental health, a personal journey

Its not going to end... pages 13 - 14


An account of time warps, changing needs and managing care

One to One Company pages 7 - 8


Discovering a mutual interest in the arts

Values and Beliefs in Healthcare pages 15 - 16


The ups and downs

The Bigger Picture


There are major changes taking place in the way that individuals with experience of disability are supported and cared for within their communities. The emphasis is shifting from provision by the local authorities to greater control of care by the individual, their carer or a family member. We work closely with the individuals affected by these changes and their support organisations to ensure we provide continuity and relevant opportunities in response. We meet with people, learn what they want and in turn change and adapt what we provide. For some people, this simply means providing appropriate support to make a theatre outing happen, for others it may mean working with their care worker and supporting them to access relevant community activity. We have found, that over time, the more we meet people, the more we learn about other aspects of their daily lives. In particular, we are starting to see just how the changes within local authority support, legislation and new service initiatives are impacting on everyday lives. Sometimes this change is positive, but more often than not we see people struggling to make sense of what has become an increasingly fragmented support system. For this years annual review, we asked writer Nicola White and photographer Ruth Clark to delve a bit further, looking at the bigger picture, how these changes are impacting on some of the individuals who use our services and the small and hopefully significant part Artlink plays. Jan-Bert van den Berg Director Alison Stirling Projects Director

A Flaw in the System


Its a bit of eye-opener for people when the chair turns up to meetings with other organisations in a wheelchair, says David Hart. It also gives him opportunity to judge the gap between the lip service paid to disabled access and the reality of things. David has been working closely with Artlink for many years. He joined the board in 1995 and became chairman in 2004. I do genuinely get excited about the type of work that Artlink is doing. He says he knows that the staff sometimes feel frustrated in the way that this kind of work just shows up the need for more of it. But we can only do as much as we are able to do. We meet at Firrhill Centre, a facility for people with physical disabilities that provides a wide range of activities and services. It is a lovely place, full of artwork, mosaics and stained glass, set in a large, leafy garden. David is very involved in the Firrhill Partnership and edits the centres magazine. Artlink has run many projects in collaboration with the centre. I was fortunate enough, about ten years ago, to run a photography project here. We got a book and exhibition out of it. In an ideal world Id love to do that again, Id like to experiment with film or moving pictures, but there just arent the resources. David has a rare neurological condition that affects his coordination, balance and immune system. My condition is what you call late-onset. I was diagnosed at 17; before that I led an ordinary childhood. Sadly, Im under the label of being unemployable because no employers going to look twice at me Ive been told that. It indicates a tragic lack of imagination that such an obviously intelligent, conscientious and capable man should be dismissed this way, but the workforces loss is obviously both Artlink and the Firrhill Centres gain, as David fulfils the role of advocate, activist and, sometimes, diplomat. There are certain clients (here at Firrhill) who look to me as a link to management, I can put their point of view forward. And sometimes management will try ideas out on me first. While standing up for others, David has had his own share of personal difficulty. His younger brother, Andrew, died just over two years ago from cancer, exacerbated by the same neurological condition that David has. When my brother was dying I realised how much I relied on Artlink and Firrhill and my family, my parents, to keep me going. I was fairly overcome with grief at the time and if I hadnt had all these other calls on my time, I would have gone mad, I just know I would. So you could say my motivation is as simple as living my life, getting on with it. And there is much to get on with. Recent financial shortages in the council have put the squeeze on Firrhill half of the lovely garden is to be built over to provide a respite centre, and services at the centre are under pressure. Weve lost staff members who have not been replaced, outings have been cut back, little things like that. David sees this as symptomatic of an awful flaw in the system. Theres no statutory provision for people with a physical disability. All the other client groups learning difficulties, children, elderly, mental health do have. Were at the bottom of the pecking order. Were always the first that get taken away from, simply because there is nothing written in law that says you have to provide for physically disabled people, which, when you think about it, is a nonsense. He shows us around the centre proudly, philosophical about the difficulties both he and his organisation face. You have to play with the cards youre given. David Hart is Chairman of Artlink and active member of the Firrhill Centre in Edinburgh.

A Strange Learning Curve


The Artlink hut in the grounds of the Royal Edinburgh Hospital is crammed with stuff. Paintings, drawings, folders of writing and small sculptures spill from crowded shelves, balance on top of filing cabinets. In contrast to this hurly burly, Albert Nicolson is a still presence, selfcontained, dapper in his pale grey suit and lilac tie, a plastic photo identity badge dangling from his breast pocket. He shows me the book on Zen Buddhism that he is carrying with him. Albert knows the Royal Edinburgh well; he was admitted here some 48 years ago for treatment that was supposed to alleviate his mental problems. At the time, Albert was working in a drawing office, a young man trying to follow in the footsteps of his father, but having increasing difficulty understanding the social codes and habits of office work. You were supposed to toe some line or other, says Albert, but I couldnt find the line that they were toeing. I was very confused. His anxiety increased to such a pitch that he was admitted to hospital. What followed was more than 20 years in and out of treatment, enduring a variety of diagnoses for his problems schizophrenia, manic depression and the accompanying treatments of the day strong drugs and ECT. Albert now attributes his problems to severe dyslexia, undiagnosed at the time. In 2001 he got access to his treatment files. Its a bit shocking to read, because it was all suppositions, presumptions, illusions that they had. After hospital, Albert got menial work in a factory and kept himself steady through the discipline of a daily routine. Now Albert is on the Patients Council at the hospital; a former chair and vicechair, now on the management committee. He wears his identity badge with some pride and approves of recent changes in the hospital wards. Its a step. But its a giant step weve got to make, we have to treat each other with respect. It was through someone he met on the Patients Council that Albert started to come to the Artlink hut. At first he liked to watch what was going on, to feel the energy of the place. Then Anne suggested I draw a pair of spectacles. That led to more drawing, and to showing work in exhibitions at the hospital. Albert shows me a photograph of some of his drawings of hats, the clear, confident lines of them a testimony to his training in the drawing office. Artlink moves people on, its a very important facility, he adds. It also introduced him to what he describes as a whole herd of dyslexics its mostly artistic people that are affected. Participation with others alleviates his feeling of being always on the outside of things. Albert is retired now, and although the past is behind him, he isnt finished with it. I would like an apology from the cretins some compensation. Most of them are probably dead by now. It wasnt their fault, it was a bit like Charlie Chaplin tightening the nuts in that film. They were wrongly informed and I had to pay the price. Albert has somehow survived things that others wouldnt, and steered his way to a more tranquil place. Its been a heck of a strange learning curve. Albert Nicolson is a member of the patients council at the Royal Edinburgh Hospital and is regularly involved in Functionsuite projects Working with Healthcare Communities

One to One Company


I ask Alistair Patrick how many years ago he had his stroke, and he takes up his spiral bound notebook and writes 9th January 2000. The precise day that his life changed utterly. The stroke took away Alistairs ability to speak, but he communicates well, through writing and eloquent gestures. He is a strong presence in the room. One side of his body was left paralysed by the stroke, and he has to use a wheelchair beyond the door of his flat. If it wasnt for Artlinks Art Access programme, he says, he would never get out in the evenings. In his small living room, everything is arranged at hand; notebook, stationery, remote controls, calendars. The walls are stacked with framed pictures, landscapes and animals mostly, some of them Alistairs own in the last few years, he has learnt to draw intricately with his left hand. Also in the room is Graham Jameson, an Arts Access volunteer for the past 14 years. Graham regularly accompanies Alistair on his evenings out, helping him negotiate the obstacles of transport and access, ready to sort out any difficulties on his behalf. Together theyve been to a wide range of performances and concerts, all chosen by Alistair. The first thing we went to see was an Elvis Presley concert, says Graham. Alistair laughs and mimes how he was unable to see over the excited, standing crowd. Remembering an event he particularly enjoyed, Alistair draws an invisible bow over his upper arm. The fiddler! responds Graham. Aly Bain and Phil Cunningham had gone down well. Alistair takes out his calendar to track what else they had seen. Theres been some shockers, though, says Graham. They went to see Grumpy Old Women and felt like the only men among an audience of 5000 women. Outnumbered and disappointed, they left after 20 minutes. Grumpy Men! writes Alistair indicating both what they would have preferred and how they ended up. We have similar taste in what we dont like, says Graham. Alistair brings out a sheet of writing paper. With the help of his sister, he has painstakingly prepared some statements for me about what the Arts Access scheme means to him. He wants his thoughts and feelings recorded accurately. He praises not only the opportunities Arts Access offers him, but the simplicity of the arrangements and the helpfulness of the team who run it. Being unable to speak, I often feel isolated, the note says, so its good to have one to one company and a shared experience, be it a concert or other outing. I ask Graham what he gets out of volunteering, but he is anxious to downplay any hint of virtuousness. I dont see it as any big deal. Im going to the theatre, so Im going to the theatre. I dont see it as separate or different from going out with a friend. I do get to see things I would never have dreamt of. Thats been good. Alistair and Graham get on particularly well, and have similar backgrounds in banking. The flow of conversation isnt easy but we tend to discuss more things to do with finance and the stock market than did you watch Coronation Street last night? During an interval at the Kings one night, Graham asked Alistair if he had a mobile phone. I think he thought I was being funny or cheeky, but I said it was for texting and it was like, what are you talking about? The next time they were out, Graham arranged for a friend to text him in the interval so Alistair could see how simple it was. As I understand it, no one had said have you tried texting? Everyone thought what a wonderful idea, but I couldnt believe no one had thought of it before. As a result, Alistair now has a mobile, and even though he indicates that it is sometimes difficult for him to grasp the words he wants, it does give him another option for communicating. And Alistair is determined to communicate, to do all he can to overcome the barriers between him and those precious and necessary shared experiences. Alistair Patrick is a regular user of the Arts Access service and Graham Jameson is a long term volunteer for the service.

Coming Out Fighting


Mig Coupe lives in a flat on the top floor of a small, peaceful complex. It feels like it is in the treetops. Mig moved in here with her son and daughter in 1999. Now two solicitous spaniels, Lottie and Marley, share her home. The front room is full of photographs of family and friends. Among them is the recurring figure of a tall young man with blond dreadlocks and a soft, open face. This is Daniel, Migs son, who became very ill in 2000, when he was 18. He spent 18 months in his room, basically, says Mig. Since then Daniel has been diagnosed with paranoid schizophrenia and has had three long stays in hospital. He is back in hospital now, and Mig fears that he will remain there for some time. Paintings by Daniel hang throughout the flat, expressionist in style, seething with layers of colour. When Daniel was first ill, he sketched all the time, using drawing to reflect the turmoil he was experiencing. During this period, a worker from Artlink came to the flat to work with Daniel for short sessions, on Daniels terms. In hospital, Daniel has continued contact with Artlink, and Mig says that the ward he is in at the moment is great, that they provide materials so that he can paint whenever he feels like it. The difference with Artlink is that they havent given up on Daniel, and Patrick [his Artlink contact] has tried to see the bigger picture and ask how we can keep art in Daniels life, what are his needs and how can they be met. Its not like that with other agencies weve come across we dont get many, because they say Daniels difficult to engage, therefore they either give up or turn their overstretched resources to those who do engage. Mig adds: Saying art is a luxury drives me nuts people who havent experienced the power of music, the power of art in the lives of someone like Daniel make sweeping statements that could alter the purse strings. Take away his art, take away his music, and hes got nothing. Migs energies have been so taken up with Daniel and other family responsibilities that Artlink suggested she do a project herself, something that would be hers alone. Shes now making a DVD with artist Mandy McIntosh which weaves old family stories with Migs impressive travels and Daniels own journey. Mig comes up with ideas and Mandy animates them. Ive come out with things that are meaningful to me, says Mig. Its very exciting. It provides a distraction from concerns for Daniels care. When I ask what keeps her going, Mig says: It sounds a bit trite, but I think just unconditional love, and family support. Daniel didnt ask to be the way he is. He doesnt deserve any less than the best available, and hell only get that if we keep gnawing away at that bone and finding out what is useful for him. There seems nothing trite in the steady ferocity of Migs love for her son. Ive become stronger over the years; I dont think I started out like that. When life deals you blows you either drown or come out fighting, and Ive come out fighting. You find strength in the support offered and you hang on to that like the way Artlink has the potential to offer Daniel what he needs when he can use it. Mig Coupe has supported her sons involvement in various projects with Artlink Arts for Mental Health, as well as taking part in a one-to-one project as part of its carer support through Mental Health and Emotional Wellbeing programmes

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Get Back on your Feet...


The sun streams into Nicola Richardsons flat in Bathgate. She talks about the long efforts it took to get a place of her own and her feelings when she saw it. I fell in love with it. Im so happy I could get this place, really I am. Its a cosy flat, lovingly furnished, with photos of family displayed on the shelves. A big stuffed monkey, a present from her sister, takes up a chair in the corner. Nicola is gently spoken, with a ready smile. She looks and sounds younger than her 28 years. Throughout our conversation, she constantly refers to her good fortune and her gratitude for any support she received along the way. Her disposition is at the opposite end of the spectrum from self-pity. She often refers to herself as lucky. Its 10 years since Nicola was in a rehabilitation unit in Whitburn following a breakdown. She was just 18 and was diagnosed with mental health problems. I was there for three or four months and got back on my feet due to their help, so I have a lot to thank them for. She took advantage of any support offered to her and started to create artworks with a therapist who worked there. This led to involvement with Artlink. We had that wee studio in Broxburn where we all used to meet up once a week for a couple of hours and get teas and coffees and chat. It gave me a selfesteem boost. And I was meeting new people. It was something to get out of bed for, yknow. Going to that group stimulated my brain again, got me back on my feet a little bit. Most recently, Nicola was involved in Artlinks Kirkhill Pillar project, an ambitious scheme of public artworks which placed representations of the solar system in locations around Broxburn. Nicola was involved in the background research for the project, scouting for locations and making the works. Its brilliant. honestly, Im totally overcome with emotion about that, I think its fabulous. Now its all done its kind of awesome. Apart from her Artlink involvement, Nicola has recently completed a course in journalism and hopes to do some volunteer work with her local paper. This summer, as in the past six summers, she will be working as a volunteer with a childrens play scheme, although she had to overcome some prejudice to be accepted in the first instance. When I was doing this disclosure form for working with children, I disclosed I had mental health problems so they came back saying I was unfit to work with children. I went to the top people at the play scheme and they agreed that I was fit, so I appealed against it and I won. She smiles at the memory of this victory. While her journey hasnt been easy, Nicola doesnt dwell on the obstacles. Her Mum and Dad, she says, have been brilliant. She has warm relationships with her family, and they get together every Sunday for a meal. During her last visit to her psychiatrist Nicola was told she was a success story. She laughs lightly at the phrase. Ive always been independent, you get back on your feet, start again and just look ahead. Nicola Richardson is a trainee journalist and participant in The Arts for Mental Health - Kirkhill Pillar Project as part of Mental Health and Emotional Wellbeing programmes

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Its not going to end


Its quite a worrying time at the moment, says Ethel Hill. Were sitting in Ethel and Allans comfortable living room. Theyre at a stage of life when things ought to be slowing down, but their parental responsibilities havent eased with time. Their son Keith left home almost 20 years ago to live in Penicuik, just outside Edinburgh. He was 19. We thought that was it, that was him settled, and here, weve still got the worries, weve still got the fights, says Ethel. Keith has Downs Syndrome, and for the past four years he has lived on his own in a flat adjacent to the communal house where he used to stay. But Keiths needs are changing, and his parents are worried about his safety and happiness. A few years ago Keith had a regular job, working in the caf of Scotmid supermarket. It was super, says Ethel, the staff really looked after him. Probably too much. When Tesco took over, they closed the caf and Keiths job disappeared. Things have gone downhill with him since then. Hes less capable now than when he was younger. Hes losing some of his independence skills. Allan and Ethel know the value of meaningful activity and structure for those with learning difficulties, and express concern that, as day centres close and resources diminish, people like Keith are taken by their support workers to wander aimlessly round places such as shopping centres. They spend a lot of time travelling back and forth to Penicuik to check on their son. Not that they resent this, but they worry that he is alone at night, and that there is no back-up support if the centre he attends three days a week is shut for any reason. Like many families of people with additional needs, they are reluctant experts in the shifts of government policy. They tell me about a meeting they recently attended at Enable Scotland where one man expressed their situation well. He said, Have we been in a time warp? What we were fighting for 30 or 40 years ago were almost back to that stage. Now the emphasis is shifting again under the guise of greater choice - to families directly managing the care of their relatives. I went to meetings on that, says Ethel, about finding and managing your own staff, but its just too big a job for parents to take up, really. Allan adds, We should be beginning to stand back, we should have the comfort that the services are in place. A highlight of Keiths week is the time he spends with Artlink on a Monday. He has one-to-one sessions making clothing and objects to his own design. Ethel shows me photographs of a broadly smiling Keith wearing a joyful Sound of Music suit he made. What I like about it is its so calm and peaceful and all the staff are wonderful. What they provide is first class. He can be a so-and-so to get up in the morning, but rarely on a Monday do they have any trouble. She adds: Theres a lot of parents who cant be involved, for various reasons like old age or illness. Their sons and daughters dont have anyone to fight for them. They are left sitting in their accommodation with no staff to take them out. At least we can still fight. I almost feel Im a policeman now, says Allan, policing the services that hes getting, trying to say, look his needs are changed we need to do something about that, he needs more hours of support. . And when you say more hours of support they just hold their hands up. Ethel sighs, Its not going to end, really. Ethel and Allan Hills son Keith takes part in weekly Artlink Midlothian workshops as part of our Community Support Programme

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Values and Beliefs in Healthcare


The Western General hospital in Edinburgh is a huge place, as complex as a small town. Towering ladders of signs point here and point there. Ward 50 is at the top of one of the blocks, and Richard Mackay waits for me to navigate my way to him. Richard is the charge nurse for this ward of acute elderly patients. It is obviously a challenging job, dealing with patients and managing staff, budgets and the intricate records and audits that come with modern health care. Its difficult to get time for everything, says Richard. The most difficult part of my work has to be managing my budget. Its a real challenge and the part of my job I like least. What I like is being on the ward with the patients thats why I came into nursing. Sometimes the pressure made him question whether he wanted to stay in the role, but a recent initiative has made a big difference to his job satisfaction. A donation from millionaire Anne Gloag has funded a project in NHS Lothian called Compassionate Care, and Ward 50 was selected as a beacon ward for the project. In essence, it looks to focus care on the emotional experience of the patients, and also take into account the values and beliefs of the staff. Talk of emotional touchstones and patient stories can elicit cynicism in a culture where new initiatives leapfrog each other and PR soundbites compete, but Richard is adamant that it is worthwhile. Theres been a big focus on targets and on money, so its nice to have a focus on patients as people, not as numbers or beds. It gives us a chance to think about what we do, and how we can improve. The initiative hasnt been without opposition, though. Its quite controversial because a lot of people say we shouldnt need this, but the reality of it is, we actually do. Emphasising the importance of talking to patients sounds like common sense. It certainly plays a big part in Artlinks work in this and other partner hospitals. Artlink are keen to involve everyone, agrees Richard. From his discussions with staff and patients of Ward 50, Artlink Co-ordinator Anthony Schrag has devised some entertainments for the patients there, including a successful movie night, with a black and white film and supplies of sweets and popcorn like a night out, but without leaving the hospital. The patients said it was a trip down memory lane, a treat. They talked about it for days, says Richard. Only some elderly patients are well enough to take part in such activities, however, and Artlink tries to devise interventions that are sensitive to that. Without a doubt, Richard says, the people coming to us now are much sicker than even two or three years ago. Theres so much more intervention in the community now, so something like a straightforward chest infection wouldnt come here. Artlink run a gallery in the hospital, and patients from Ward 50 who are fit enough are taken to see the exhibitions. Recently, Richard featured on the walls of the gallery himself, part of a series of photographic portraits of people who work at Western General. Richard was astonished by the number of people who came up to him to talk about it, and the level of attention he received. It just shows you how many people look at the Art Corridor. Its a facility for the whole hospital. Richard Mackay is a charge nurse at the Western General. He and his ward have participated in activities organised through Functionsuite Working with Healthcare Communities

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Activities
Quick statistics for 2007 - 2008
Participants Sessions Outings Volunteers Exhibitions Events Performances 815 9,700 1,272 135 36 82 24

Working with Healthcare Communities


The Artlink Functionsuite hospital arts programme creates opportunities for patients and staff to work together with artists. We respond to particular individual or collective interest or the needs of hospital departments.
Artist Team Leader Arts Events Coordinator Gallery Manager Gallery Intern Anne Elliot Anthony Schrag Charlotte Collingwood Lindsey Gibson to February 2008, Luke Fletcher from February 2008

Providing Community Support


Artlink works closely with individuals with learning disabilities in Edinburgh, Midlothian and West Lothian to create opportunities in the arts relevant to their unique interests and circumstances.
Programme Coordinator Partners Artist in Residence Kara Christine Janice Parker

Lothian NHS Board, Scottish Arts Council Artfull Lottery Fund, Consort Healthcare (Balfour Beattie), West Lothian Council.

Funders Midlothian Council, Scottish Arts Council, Esmee Fairbairn Foundation, City of Edinburgh Council, XFactor Dance Company and individual donations and payments.

Arts Access
Artlink Arts Access support individuals with a physical disability, learning disability, sensory impairment, mental health problem or who are older or infirm to go to the arts with a volunteer companion.
Coordinator Audience Development Officer Assistant Sally Primrose Mairi Taylor Morven Crumlish

Mental Health and Emotional Wellbeing


Artlink creates opportunities for people with health problems and their carers in Edinburgh and West Lothian to pursue a particular interest in the arts. Individuals are matched with artists who have complementary skills, providing a focus around their talents or fascinations.
Lead Artist Patrick OGrowney

Funders City of Edinburgh Council, Midlothian Council, Scottish Arts Council Lottery Fund, Lloyds TSB Foundation for Scotland, The Robertson Trust, The Russell Trust, H J Gibb Charitable Trust, Stockbridge Parish Church, Alma and Leslie Wolfson Charitable Trust, and individual donations. Arts Access collaborative partners National Galleries of Scotland, National Museum of Scotland, Fruitmarket Gallery, Stills Gallery, National Library of Scotland, The Queens Gallery, Talbot Rice Gallery, Scottish Opera, Traverse Theatre, Edinburgh Festival Theatres, Royal Lyceum Theatre, Royal Botanic Garden Edinburgh.

Funders British Waterways, Heritage Lottery Fund, Mental Health Specific Grant (West Lothian Council), Mental Health Specific Grant (City of Edinburgh Council).

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Contributors
Board of Directors
Chair Vice Chair Treasurer Secretary Members David Hart Betty Barber Colin Scott Gavin McEwan, Turcan Connell Dr Michael Affolter Caroline Barr Jim Eunson David Wright Christine Lawrie Anna Becker

Gallery Technicians
Cameron Watt, Ewan Roberston, Jenny Rice, Kirsty Macdonald, Neil Pennycook, Sandy Christie, Sandy Wood, Sonja Witts, Steve Mykeityn.

Volunteer Artists
Annabel Bartle, Darren Farquhar, Fiona Swanston, Heather Dimarco, Owen Greene, Petra Pennington, Sarah Roberts, Tonya McMullan.

Artlink Administrative Team


Administrative Coordinator Programme Support Worker Bookkeeper Vanessa Cameron Kirsty MacDonald Alison Thorburn

General and Core Funders


Scottish Arts Council, Scottish Arts Council Lottery Fund, City of Edinburgh Council, Midlothian Council, West Lothian Council and NHS Endowments, Mitchell Trust, N.Smith Charitable Settlement, Sir Iain Stewart Foundation, Cruden Foundation, Saints and Sinners Club, The Riada Trust, The Evelyn Drysdale Charitable Trust, The Miller Foundation, William Grant & Sons, Binks Trust, Martin Connell Charitable Trust, The George & Margaret Trotter Charitable Trust.

Artists
Agamemnon Otero, Alan Oates, Alastair McIntosh, Andi Neate, Andy Fraser, Anna Bergahansen, Annabel Bartle, Anne Elliot, Astrid Johnston, Brian Osbourne, Ciara Phillips, David MurrayRust, Colette Paul, David Sherry, Debbie Watson, Deirdre Macdonald, Ruth Clark, Nicola White, Derek Lodge, Des Dillion, Donald Urquhart, Ed Reid, Eveline Nicolette, Ewan Harvey, Ian Brotherhood, Ian Hunter, Jacqueline Donachie, Jenny Moran, Jim Colqhoun, John Johnstone, Jonathon Owen, Juliana Capes, Laura Aldridge, Laura Marney, Laura Spring, Lauren Hayes, Lindsay Perth, Lorna Waite, Malcolm Hosie, Marie Hernqvist, Marylou Anderson, Michelle Naismith, Nevis String Quartet, Owen Piper, Paulina Sandberg, Rebecca Ecob, Ruth Smolett, Steinvor Pallson, Steve Dale, Steve Hollingsworth, Suzi Morrice, Clara Ursitti, Tonya McMullan, Yvonne Mullock.

ARTLINK 13a Spittal Street Edinburgh EH3 9DY 0131 229 3555 info@artlinkedinburgh.co.uk www.artlinkedinburgh.co.uk
If you would like to find out more about Artlink, or you are interested in volunteering, please feel free to contact Artlink at the address above by either telephone, email or in writing.

This publication is available in PDF, Braille, Tape and Large Print formats, please contact Artlink for your copy. A full set of detailed accounts is available from the Artlink office. Artlink is a company registered in Scotland No 87845 with charitable status, Scottish charity number SC006845

Interviews by Nicola White Photographic portraits by Ruth Clark