An unusual piece of art by Martine Foltier Pugh has been installed in the grounds of the National Trust for Scotland’s (NTS) Hill of Tarvit Mansionhouse by Cupar.

Ruth Burgess, Property Manager of Hill of Tarvit comments “We were delighted when we were approached by Martine with this exciting idea. The installation will be in place here until the 30th September and is already attracting lots of interest from our visitors. The piece has been created from jute and suits in with the other yew buttresses.”

Martine Foltier Pugh says “I was inspired by the history of Hill of Tarvit and its close links with textiles - from the jute grown in India and woven in Dundee which made the Sharps’ fortune to its collections of Flemish tapestries and upholstered French furniture. The grief experienced by the last two members of the Sharp family and the ensuing destruction of all photographic and written records in the late 1930s were also significant influences. “

“Yews were particular favourites of Robert Lorimer, the architect, and their chiselled lines complement perfectly the sobriety of his buildings. But Lorimer was also a risk-taker with a sense of humour as visitors to the house can see today.”

Born in France, Martine Foltier Pugh moved to Scotland in her early twenties. As a mature student, she took up full-time studies at Edinburgh College of Art and graduated in Sculpture.

She says about her work: “Textiles are part of my earliest memories. They speak a language of patterns, colours and textures which communicate with audiences far and wide. I use traditional skills like sewing to join fabrics together but displace them in an unlikely context. I find this combination of unusual partners an inspiring and liberating process that allows me to highlight topical issues such as heritage and otherness.”

“Recycled materials are important to my practice, they are part of my search for authenticity. The jute here comes from the Verdant Works mill in Dundee. These time and site-based parameters balance out the ephemeral aspect of my work."

This work is supported by The Scottish Arts Council, the National Trust for Scotland and The Hope Scott Trust.