The Belfast Hills Ar Scáth na Sléibhte


The Belfast Hills

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Come on in, Cormac.

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Cave Hill. Cave Hill. Everywhere I look, Catherine!

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Everywhere you look! There is one or two of the Black Mountain.

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-This is a striking one here.

-That is the earliest one in the room.

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That is from the '80s. And the time that Belfast was very troubled.

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The figure that you see on the right-hand side is an angry goddess,

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trying to shake away the colours of conflict

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and have the Cave Hill to herself.

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I particularly like this one here.

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-Yes.

-That's nice.

-Thank you. Well, again, that is the sense

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of the community and the Hill.

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And what I wanted to get there was that sense

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of the Hill and the waterworks and the people being part of it.

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It was part of their lives.

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It was part of all our lives in North Belfast.

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-We cannot do without the hills.

-Now, this one isn't Cave Hill?

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No. This is FROM Cave Hill.

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There are houses. There is a community.

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Part of the landscape, again.

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"At the bottom of every street, there is a hill" - John Betjeman.

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-Mm-hm.

-So, that's what's true!

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-Did he say it in relation to Belfast or...?

-Yes, he did.

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He said it in relation to Belfast. I had forgotten that.

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But that's what I mean - no matter where you go, there's the Hill,

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there's the Black Mountain, and they are like big arms that will

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-protect you...

-Mm-hm.

-..in that sense.

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The Belfast Hills, in terms of other ranges of hills,

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is quite a small range of hills.

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Is there enough variety to satisfy somebody like you, who looks at it

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-with an artistic eye?

-I do paint other things

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and I get involved in other projects,

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but it always comes back in again. It just seems to sneak in

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or else, I say, "Gosh, the Hill looks lovely today"

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or "It looks different. I've never noticed it look like that before."

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For example, when it's very misty, there is something very magical

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about it, even looking from the city up

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or you look out the window and you can hardly see it, at all.

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So, there is a mystery there, as well, that captivates me.

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When you look at a landscape, is it important to you to know

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the historical context. Does that play a part?

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I only, sort of, think of that later.

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I am very conscious that the Cave Hill was historically

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so important in 1795, when the United Irishmen met up there.

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It does not really impact on me while I am involved in

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representing it. I re-present the Hill

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through paint and, whatever way I do it,

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whether it is good or bad, it is the way I express

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my love of the Hill, I suppose.

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I like more the idea that I am part of a landscape and it is part of me.

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