0:17:20 > 0:17:22Come on in, Cormac.
0:17:24 > 0:17:27Cave Hill. Cave Hill. Everywhere I look, Catherine!
0:17:27 > 0:17:30Everywhere you look! There is one or two of the Black Mountain.
0:17:30 > 0:17:35- This is a striking one here.- That is the earliest one in the room.
0:17:35 > 0:17:40That is from the '80s. And the time that Belfast was very troubled.
0:17:40 > 0:17:44The figure that you see on the right-hand side is an angry goddess,
0:17:44 > 0:17:50trying to shake away the colours of conflict
0:17:50 > 0:17:52and have the Cave Hill to herself.
0:17:52 > 0:17:54I particularly like this one here.
0:17:54 > 0:17:58- Yes.- That's nice.- Thank you. Well, again, that is the sense
0:17:58 > 0:18:01of the community and the Hill.
0:18:01 > 0:18:05And what I wanted to get there was that sense
0:18:05 > 0:18:09of the Hill and the waterworks and the people being part of it.
0:18:09 > 0:18:11It was part of their lives.
0:18:11 > 0:18:13It was part of all our lives in North Belfast.
0:18:13 > 0:18:17- We cannot do without the hills. - Now, this one isn't Cave Hill?
0:18:17 > 0:18:19No. This is FROM Cave Hill.
0:18:19 > 0:18:23There are houses. There is a community.
0:18:23 > 0:18:25Part of the landscape, again.
0:18:25 > 0:18:29"At the bottom of every street, there is a hill" - John Betjeman.
0:18:29 > 0:18:31- Mm-hm.- So, that's what's true!
0:18:31 > 0:18:35- Did he say it in relation to Belfast or...?- Yes, he did.
0:18:35 > 0:18:38He said it in relation to Belfast. I had forgotten that.
0:18:38 > 0:18:41But that's what I mean - no matter where you go, there's the Hill,
0:18:41 > 0:18:45there's the Black Mountain, and they are like big arms that will
0:18:45 > 0:18:48- protect you... - Mm-hm.- ..in that sense.
0:18:51 > 0:18:54The Belfast Hills, in terms of other ranges of hills,
0:18:54 > 0:18:56is quite a small range of hills.
0:18:56 > 0:19:00Is there enough variety to satisfy somebody like you, who looks at it
0:19:00 > 0:19:04- with an artistic eye? - I do paint other things
0:19:04 > 0:19:06and I get involved in other projects,
0:19:06 > 0:19:10but it always comes back in again. It just seems to sneak in
0:19:10 > 0:19:14or else, I say, "Gosh, the Hill looks lovely today"
0:19:14 > 0:19:18or "It looks different. I've never noticed it look like that before."
0:19:18 > 0:19:22For example, when it's very misty, there is something very magical
0:19:22 > 0:19:26about it, even looking from the city up
0:19:26 > 0:19:30or you look out the window and you can hardly see it, at all.
0:19:30 > 0:19:34So, there is a mystery there, as well, that captivates me.
0:19:34 > 0:19:37When you look at a landscape, is it important to you to know
0:19:37 > 0:19:40the historical context. Does that play a part?
0:19:40 > 0:19:42I only, sort of, think of that later.
0:19:42 > 0:19:45I am very conscious that the Cave Hill was historically
0:19:45 > 0:19:50so important in 1795, when the United Irishmen met up there.
0:19:50 > 0:19:56It does not really impact on me while I am involved in
0:19:56 > 0:20:00representing it. I re-present the Hill
0:20:00 > 0:20:03through paint and, whatever way I do it,
0:20:03 > 0:20:10whether it is good or bad, it is the way I express
0:20:10 > 0:20:12my love of the Hill, I suppose.
0:20:12 > 0:20:18I like more the idea that I am part of a landscape and it is part of me.