I’ve had the opportunity to visit Scotland seven times since the 1990’s and have learned much about the geography, history, and culture of this amazing country. Many things there remind me of and seem to have parallels with our home in the Pacific Northwest. In particular, the topography, language, and culture of the Gaelic Highlands and Islands brings to mind the strong cultural sense I learned to appreciate while living at Neah Bay. The Aros Centre near Portree on Skye and the Makah Cultural and Research Center (MCRC) at Neah Bay both have become the heart of a renaissance of culture and tradition. Thus, it was only inevitable that I would try to blend the graphic art traditions of both of these two rich and viable cultures.
I have been a student of Northwest Coast 2-Dimensional Native art since the 1970’s but the Gaelic art tradition provided a new challenge and exciting learning experience. My initial introduction to Celtic art came through the seminal work of George Bain. Bain’s Celtic Art: The Methods of Construction (©1997) provided me with the structure behind Celtic knotwork, spirals, and the anthropomorphic and zoomorphic design elements in much the same way that Bill Holm’s classic text introduced me to NWC Indian art. As many of Bain’s examples came from the illuminated manuscripts created by Celtic monastic tradition, my path next took me to a deeper study of and appreciation for one of the great masterworks of medieval art, The Book of Kells. Since then I have gone on to use other texts such as the Lindisfarne Gospels, Celtic Stone Crosses, and Pictish Standing Stones as “new” sources for design elements and compositional support.
Then in 2007, the purchase of an antique armoire for our bedroom introduced me to the British Arts & Crafts Movement. From that moment I began to read everything I could about the British Arts & Crafts and Art Nouveau Period, concentrating mainly on architecture, furniture design, interior design, and metalwork. When I saw Liberty’s pewter offerings, I was amazed at the beauty of the designs---they were strongly reminiscent of the Celtic art I had been trying to learn. What I had discovered was the Celtic Revival designs of the master Manx designer, Archibald Knox. Thanks to Ebay auctions, I was able to acquire several pieces of Knox’s pewter designs and a silver brooch for Leigh as well. Through the pieces that I own and to special thanks to Stephen A. Martin’s definitive text (Archibald Knox (©2001), Knox has become one of my most important sources of inspiration. Knox extensively studied the carved stone crosses on the Isle of Man and his deep understanding of Celtic art greatly influenced his design work. His entrelac designs incorporating Celtic knotwork with the Art Nouveau “whiplash” produced a style unique to Knox and one extremely popular even today.
I have been a student of Northwest Coast 2-Dimensional Native art since the 1970’s but the Gaelic art tradition provided a new challenge and exciting learning experience. My initial introduction to Celtic art came through the seminal work of George Bain. Bain’s Celtic Art: The Methods of Construction (©1997) provided me with the structure behind Celtic knotwork, spirals, and the anthropomorphic and zoomorphic design elements in much the same way that Bill Holm’s classic text introduced me to NWC Indian art. As many of Bain’s examples came from the illuminated manuscripts created by Celtic monastic tradition, my path next took me to a deeper study of and appreciation for one of the great masterworks of medieval art, The Book of Kells. Since then I have gone on to use other texts such as the Lindisfarne Gospels, Celtic Stone Crosses, and Pictish Standing Stones as “new” sources for design elements and compositional support.
Then in 2007, the purchase of an antique armoire for our bedroom introduced me to the British Arts & Crafts Movement. From that moment I began to read everything I could about the British Arts & Crafts and Art Nouveau Period, concentrating mainly on architecture, furniture design, interior design, and metalwork. When I saw Liberty’s pewter offerings, I was amazed at the beauty of the designs---they were strongly reminiscent of the Celtic art I had been trying to learn. What I had discovered was the Celtic Revival designs of the master Manx designer, Archibald Knox. Thanks to Ebay auctions, I was able to acquire several pieces of Knox’s pewter designs and a silver brooch for Leigh as well. Through the pieces that I own and to special thanks to Stephen A. Martin’s definitive text (Archibald Knox (©2001), Knox has become one of my most important sources of inspiration. Knox extensively studied the carved stone crosses on the Isle of Man and his deep understanding of Celtic art greatly influenced his design work. His entrelac designs incorporating Celtic knotwork with the Art Nouveau “whiplash” produced a style unique to Knox and one extremely popular even today.
 Archibald Knox pewter crumb scoop |  Archibald Knox pewter & enamel charger |
Archibald Knox silver & enamel box
 Archibald Knox Celtic design |  Archibald Knox "Rosemary" graphic design |
As a side note, through Liberty and Knox, I was introduced to the Celtic Revival designs of Mary Seton Watts (with whom Knox also briefly worked). Her Compton Pottery Works and especially her masterpiece, the Watts Memorial Chapel in Surrey, England (created for her late husband, the painter George F. Watts) have also been instrumental in helping me develop the Celtic aspects of my art tradition fusion. My Watts Chapel Tribute Memorial (Fall 2012) incorporated many of the design elements from this amazing work of art and architecture.
 Watts Chapel exterior tile |  Watts Chapel interior |
An Introduction to the Watts Chapel, Compton, Surrey
Celtic art, the Celtic Revival, and the entrelac of Archibald Knox will continue to be a major influence in my designs. I am greatly indebted to them as an ongoing source of creative inspiration.
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