Ian McKay, Editor of Art North Magazine – ‘I’ve recently seen some new work that Lar‘s been developing with disposable plastics, and it really surpasses anything else that I’ve seen in this vein. Try and get a look at her plastic/kelp work. A fascinating kinetic use of materials that works on a multitude of levels. So much of what I see from a great many working with the detritus of our culture is pretty one-dimensional in comparison.’

Carrie Fertig, Installation & Performance Artist in Flame-worked Glass – ‘I want to thank the amazing, sensitive, and full-of-compassion invigilator at Inverness Museum and Art Gallery. I am so deeply fortunate to have Lar MacGregor to guide visitors in whatever way they wish to experience this work.’

I live in the Scottish Highlands, 15 miles north west of Inverness. The pace here is unhurried and there is a strong sense of history and heritage in every village and moorland glen; a landscape of close-shaven heathers and trees shaped by wind and time.

In an age of noise, distraction and technology, I am ever curious about those moments of clarity, when all the stresses and strains of our daily lives simply ebb away and we are left with silence amidst the chaos.

I always begin my working process by walking. I walk alone or in company, collecting physical objects, photographic imagery, conversations and feelings, making connections to people and place as I walk. The idea of ‘making’ used as a means to explore this meditative action, evolves into sculptural objects; points of reference or a reflective exercise for my memories, leading them back to those moments of stillness experienced whilst walking.

Walking art is a sensory experience. Walking is about seeing, smelling, hearing, touching and if you get the right season, tasting. Like us, pathways get worn, become familiar and change over time. They give small insights into the history and cultural use of space.

A significant part of development for my sculptural work is in the approach to form and the considered use of my materials as well as the processes involved in gathering connections. Sometimes these gathered connections become ‘patterns’ for casting or constructing.

I try to use materials relevant to the location; such as wood, but often the materials I salvage/rescue or I am gifted are used to explore the walking sculptures instead. The sculptures serve as records, memories or souvenirs of the experience.