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Felt, fibre and fine art: Moy Mackay brings rural Scotland to life at EdFringe

Richard Beck Richard Beck
10 Jul 2025

We spoke to the celebrated Scottish artist Moy Mackay about her background, her specialist form of art and her contributions to this year’s EdFringe.

I wanted to marry traditional craft techniques with a fine art application, to create new and original concepts

Moy, you graduated from the famous Glasgow School of Art. What was it like studying there?

I began my studies at GSA in 1987 and graduated in 1990 – the year that Glasgow became the European City of Culture. Creatively speaking, this was a fantastically exciting time to be in the city.

I studied Printed Textiles. The course had – and still has – a very strong reputation, and it was tremendously competitive to be accepted onto it. I was aware of how privileged I was to be studying at GSA, aware of the reputation, history and legacy of the School, and I was excited to be part of that. There were some super-talented and competitive students in my year, all producing work to a very high standard – everyone really worked their socks off! This work ethic inspired us all and really pushed me on in my own creative journey.

You’ve carved a highly specialised niche for yourself in the art world. Did that originate at the School?

During my time studying Printed Textiles, I started to become aware of – what I perceived as – a huge divide between Fine Art and the other subjects taught in the School. It felt that there was intellectually much more gravitas and respect afforded to Fine Art.

As a student I didn’t understand this – it felt elitist. I believe that one art form is as worthy as the next. However, this disparity inspired me to start considering how I could combine the two art forms in my work, and I became excited about the idea of marrying traditional craft techniques with a fine art application, to create new and original concepts.

As my work developed, I started painting onto fabrics and fibres and stitching into them. This led me to explore the concept of creating paintings that essentially weren’t made with paint.

And you are now renowned for a style of felted painting. Can you explain what that entails?

The felted paintings were created as a direct result of the experimental work I had been developing at GSA. Continuing my fascination with fine art and craft, I started to explore incorporating the use of traditional felting techniques within my work, as I had never seen felt used in this way before.

My creative process embraces the traditional practice of the landscape artist – primarily sketching and painting in situ and using a variety of media. The felting process takes place in the studio, where I translate my sketchbook work into felted paintings, using traditional felting techniques augmented with stitch and embroidery.

It’s interesting to note that new visitors to my exhibitions have often commented that they were unaware the images were not traditional paintings until they saw the work close up!

You were born in Edinburgh but live and work in the Tweed Valley. To what extent has the landscape and environment of the region influenced your art?

I love living in the Tweed Valley. My living environment blends seamlessly into my creative output. My heart is in nature and the countryside, and I am continually inspired by the colours, the skies, the changing seasons and the light. All of this influence is evident in my art.

In addition to the inspiration I literally find on my doorstep, I also enjoy visiting other hidden rural corners of Scotland to sketch, paint and create new work. I really enjoy the buzz of cities and all that they have to offer culturally. I have regular “city fixes” and I imagine if I were living in Edinburgh, my work would be more focused on urban landscapes. However, as an artist I respond to the tranquillity of the countryside – it gives me the inspiration, headspace and clarity that I need to focus on and develop my work.

You have two different events listed at the Fringe. Let’s start with Every Picture Tells a Story.

Every Picture Tells a Story is showcasing at the Scottish Storytelling Centre. It’s the first time I’ve worked collaboratively with creative writers and storytellers for an exhibition, and it’s a really exciting departure for me.

The idea came about because people constantly tell me how immersive they find my work, and how they can create their own imaginative narratives around the places depicted in the paintings. I became fascinated with the idea of inviting creative writers – including authors, poets and songwriters – to collaborate, using my artwork as a starting point to inspire their own written ideas. It’s fascinating how artworks can be interpreted on a very personal level, and sometimes in very unexpected ways.

For My Scotland, you’ve set up a studio in Edinburgh. What can we expect there?

I’m going to be exhibiting (and working) in the Dundas Street Gallery. It’s an amazing space in the centre of the New Town – a must for gallery lovers.

Being a Borders-based artist, it’s a great opportunity to bring my work to a wider audience during the Festival and to meet visitors from all over the world. I wanted to set up a studio here so that I could continue to work and create during the Festival. For visitors, I think that being able to engage with my creative practice brings something additional and special to the exhibition. It’s an opportunity for them to get an insight into the magical and fascinating process of felt painting – perhaps for the first time.

My Scotland showcases recent work from my travels around Scotland, and I look forward to sharing stories and insights about the paintings with gallery visitors.

What would you like people to take away from your shows?

I would like people to get a sense of the beauty of rural Scotland. I would also like them to be creatively inspired by my work and ideas – and perhaps use this inspiration in their own creative journeys.

Richard Beck

Richard Beck

A graduate in theology and education, Richard acted and contributed to dance, drama and music productions throughout his teaching career. He joined Broadway Baby in 2014 and is now our Editor-in-Chief. He usually disappears to warmer climes for the winter to pursue his passion for travel.

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