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