Robert De Mey talks to the landscape artist, Rose Strang, about a new series of paintings inspired by the East Lothian priory, and a specific visit with family and friends. Robert was amongst the group

I first met Rose Strang in November 2023, at the Scottish Society of Artists exhibition in Ayr. Giles Sutherland had delivered a talk on Ukraine’s cultural response to the war, and Julie Telfer McLaren asked the very timely question, as to whether Scottish contemporary art is addressing major societal questions, generating a useful focus for discussion. We were later invited to join a small group including Rose and her husband Adam, also Richard Demarco and Terry-Ann Newman, to visit the remains of the Carmelite Friary at Luffness in East Lothian, on 1st June 2024. Strang has since created a series of oil paintings based on the visit to the Friary ruins, within their natural setting. This interview is based on conversations before and after the visit to the Friary, and on an interview earlier this summer.

Rose Strang, First of June, Forest of Luffness 1, oil on canvas, 12” x 12”, 2024

Rose Strang focusses on landscape and seascape painting, captured with an intensity which has garnered praise by many, through its subtle characterisation of a natural world in a state of both permanence and flux, clothed in contemporary impressionism and abstraction. Strang’s use of abstraction unlocks the door to understanding her visual language, which is comprised of colour and layers, generating psychological depth. Suffused colour and flickers of contrast serve for symbols of archetypal memories of land and of community, communicating both loss and a celebration of life.

Having discovered the Luffness Friary in 2020, Strang researched the background to the Friary’s creation and became fascinated by the story of its endowment by David Lindsay, who died on a Crusade in the 13th Century (some historical sources appear in the notes below). Strang’s discoveries were shared with Richard Demarco, whose philosophy is closely modelled on the concept of pilgrimage in both religious and secular forms - the journey and encounters along the way being more important than the destination. Nature and a land clothed in history, serve as symbol for transcendence and for folk memories. Demarco was very keen to see the site, and this led to the visit described above.

The origins of the Carmelite Friary are undocumented, and much of its early history is lost. As humans we often use myth and narrative to understand our world. The story-teller and the artist create and adapt myths to fulfil our curiosity about the past and to illustrate relationships and conflicts: the resulting work if well-designed, often carries contemporary and universal resonance.

Rose Strang, First of June, Forest of Luffness 2, oil on canvas, 12” x 12”, 2024

The present ‘Forest of Luffness’ series on which this interview is based, peoples the landscape with figures both present and forgotten. The exceptional luminous quality of the forest appears in the lancing midsummer light. This light, an aura of white surrounded by emerald green, bathes the figures, who adopt postures of absorption, communion and of awe. In some works, the human figures appear lost in a vast cathedral of towering trees; in others, figures occupy the foreground, clothed in elegaic and peaceful mystery.

Rose Strang has chosen to document a modern pilgrimage to an ancient site, reflecting on the eternal renewal promised by nature, and on the final journey of a Crusader whose last breaths endowed the Friary. She has created a contemporary retelling of the origins of the Friary by placing an individual story of death and renewal within the mysterious forest. The figures are witnesses to Richard Demarco’s lifelong pilgrimage, and they look beyond, into a place of peace and a cycle of renewal. The following interview explores Strang’s painterly journey into the heart of Luffness, and its contemporary relevance.

Robert De Mey (RDM):

We're here to talk about your series, which you're calling the ‘Forest of Luffness’.

Rose Strang (RS):

Yes, that’s a working title, I like it because it's quite quite a nice singing sound. It might end up being something like ‘The Cloud of Unknowing’, but I think ‘Forest of Luffness’.

RDM:

…. it’s got the right feel, like a fairy tale forest…..

RS:

There is uncertainty about the history of the Carmelite Friary, I’ve got a description here. The house of Carmelite Friars at Luffness was mentioned in 1335 but may have been founded in the previous century. There is a founder's tomb which is the effigy of a knight in 13th century armour. The effigy proves that the friary was founded several decades before it first appears on record

The identity of the crusader could fit the bill for a John of Bickerton, but the alternative suggestion is that it was Sir David Lindsay, who was on crusade in Egypt, and the son of another David Lindsay. That theory is put forward by George Hope, of the family who have owned Luffness House for about 300 years; he told us that to his knowledge the tomb related to David Lindsay.

RDM:

I guess we'll never know for certain. The story was that David had died of an illness or a wound……

RS:

Yes, in the East. If it was the 1300’s it would have been the later Crusades. David Lindsay had joined the Crusades and he had become ill with an infection when he was out there, it wasn't a battle wound, and he was cared for by the Carmelite Friary which was quite an early religion at that point. I don't know how they worked it out, but he knew he was dying and he wanted his remains to be sent back to his home in Luffness and either they said ‘in return can you set up a Carmelite Friary’, or, he decided to out of gratitude. The other reference to David Lindsay is that he left money for the Friary and money for the local poor to be handed out as as needed, as long as money lasted. Of course the Carmelite Friary would have been dismantled during the Reformation, and in one sense that's the end of the story.

RDM:

The common idea at the time was that giving of your worldly goods, would help divest you of your sins, and help your ascent to heaven when you die.

RS:

Somebody said that the Crusades were all about a very privileged white perspective and so on, but you know it seems to me like people from all different backgrounds would join, and it was seen as this Holy War where you cleanse your soul by going there, that’s what they believed, and it was seen as a just cause at the time. Of course later, that changed. The Crusades took place over about 300 years, there were about ten of them, and it started with the desire to protect Christians against Muslim nations, but then over time it became a cynical war effort, much as we would see it today, the motives being pillage and out of greed. It wasn't just in the Middle East, they went to the north of Europe as well, and it was just exploitative and unpleasant.

Rose Strang, June In The Forest of Luffness, oil on wood, 15” x 15”, 2025

RDM:

So you've created this marvellous series - how many paintings are there of the large size?

RS:

Of the large size there are going to be eight, but I might take one painting out, to make seven. Both are significant numbers; eight being the number of infinity, and seven being the human story of falling just short of infinity or completion. It will be a documentary approach to visiting the last resting place of the knight, but with so much of the story shrouded in mystery.

RDM:

Rose, you’ve created a narrative around the story of the knight but you've also made it contemporary. It centres not only in the founding of the Friary and the Crusader, but on the visit made to the friary in June 2024 by Richard Demarco, yourself, Adam and others. I’m very interested as to when you first learned of the Carmelite Friary, and what drew you to the story

RS:

I’m always drawn to the traces of the past and landscape. I’m mostly a landscape artist and it's what has inspired me. It’s landscape and and my response to landscape, which is emotional and spiritual. That probably began in the island of Iona, that was a huge inspiration to me. I found the Carmelite friary, which is near Aberlady, by chance, I think it was in 2020.

I was absolutely fascinated because I love history and landscape. I have done a series of paintings called ‘Trace’, all about the traces of humanity in in the landscape, and so I just immediately wanted to know everything about it. I was already fascinated by Aberlady for years before, because it's a point on the pilgrimage trail from Iona to Lindisfarne. Back in the 600’s it would have been really important, and there was a cross found there from the sixth century, similar to those found in Iona. Further up towards Dunbar along the coast is a place called Whitekirk which was an important place for pilgrimage. All of that will feed into the way I paint a landscape. It might not be there literally in the painting but the feelings inform the painting. This time I found myself fascinated by the Crusader figure because it just seems to speak to you. I think a lot of people find it fascinating to to discover this effigy with a complete archway and another broken archway, and the remains of the Friary. It seems quite magical, to find that the forest has a fairy tale quality. Like a Norse myth or any kind of myth: the idea of discovering something preserved there for hundreds of years in the forest. I began to paint the Crusader figure, the effigy, which is unusual for me as I don't usually paint the human figure, although I have done in the past.

RDM:

So this is not only to do with inhabitants and traces of the past, but the spirit of person and place?

RS:

That comes forward, yes. I sat and I meditated in front of this effigy and I wondered what this spirit of this person might say if they were able to speak. Of course the thing that's really obvious is the fact that the so-called Holy war continues tragically to this day in the Middle East, with apparently no solution, and the brutality continuing onwards. It’s incredibly sad. I saw the stone effigy worn down to almost a stage where you can't see if it's a human being, and that spoke to me poetically, also the archway which was broken. An archway to me is very symbolic, being made with a keystone which holds it all together and the concept struck me, just the missing keystone and those two sides needing to join but they can’t. The keystone could represent love, or the whole concept of dialogue. So I started to paint the ideas and the figure itself. But that’s when somebody became very critical, saying that I was painting this extremely contentious image of the Crusader, when the Crusades in general have been appropriated by some far-right groups as a symbol of white supremacy. I was obviously absolutely horrified that anybody would think that I was wanting to celebrate any such thing. So I realised that I had my work cut out. I was determined to keep exploring it, but I had to explore it in such a way that people weren't going to just have a hair trigger response. I actually had to stand back at that point, and it was quite a depressing process because I had been so excited imaginatively, and then it's like a screeching halt, like the needle coming off a record.

RDM:

I think we had a conversation at the time, where we talked about the basic meaning of the story of the Crusader at a more molecular human level, of somebody who died alone, far from home.

RS:

Yes, it's just quite an emotional story. Just the the fact that this person went to join the the so-called Holy War, and then I wonder what he was thinking as he lay dying in the Middle East, and whether he regretted joining, or if he wanted redemption. The giving of all his money was I suppose, a different spiritual way of practicing one’s religion through peace and giving to your fellow human beings, as opposed to the killing within a Holy War.

RDM:

so it becomes a dialectic of sin and redemption?

RS:

Yes.

Rose Strang, Forest of Luffness 1, oil on canvas, 30” x 30”, 2025

RDM:

Going back to the significance of the visit to the friary on the 1st June ’24, can you tell me more about that, and the significance of Richard Demarco's appearance as a central figure in the series?

RS:

Because of what I've described about coming to a screeching halt and thinking this is complicated, how am I going to go on with this. I still felt the inspiration from the visit to the Friary, and I was determined. I remember talking to Richard, this was when I visited the MacLaurin Gallery in Ayrshire, and I'd mentioned the Carmelite friary and the effigy to Richard then. He reacted characteristically, responding

‘why haven't I been there, this is fascinating’, and he said ‘you know you must organize a visit’, and I was ‘okay’, so it took a while to co-ordinate everybody. Because Richard is physically weak, it’s really difficult for him to walk now, I knew that the half mile walk wouldn't be possible, so I contacted the person who owns Quarry House, and they gave permission for a shorter access route. We got there on the first of June 2024, myself and my husband, my niece Emma and her partner Manuel, and their newly born son Atlas, and Demarco and Terry Newman, and yourself and your wife Pamela.

Everyone brought their thoughts and life experience to bear on that day, and it was just an incredibly luminous day, with the colours unbelievably vivid, you almost wonder if you're actually on earth. It was a real struggle for Richard to get along this forest path. We brought a folding chair for him to stop and sit, which he did a couple of times, and he really enjoyed that challenge. Richard and Terry Ann Newman, the Deputy Director of the Demarco Trust, they brought so much to that day, and they understood immediately the difficult nature of looking at something like an effigy of a Crusader. But they saw the poetry of the place, the poetry of the broken arch, the fact that there seemed to be an embracing couple below the effigy, and the pattern of lichen which had grown organically on the stone. They just brought a lot of stillness and awareness to the visit, and it was important for me to to ask Richard and Terry to go there, because Richard's work over many decades has been about art as a means of healing and bringing a dialogue between war-torn countries and other areas of conflict. That goes back to his relationship with Joseph Beuys, and how Beuys saw art as a means of healing in post-war Europe, so I couldn't imagine a better person to take to Luffness that day.

RDM:

Seeing the Friary through Richard's eyes, through the series, what do we think he’s seeing?

RS:

It’s just the very special nature of the site. I suppose there's a reminder of conflict and war in the middle of this idyll, there is the presence of a sad eternal sad truth about human nature, but there is in this place which looks quite heavenly. Having completed paintings including one of Richard looking up at the sky, he was really pleased to see it, and he said that I had captured him in a way that other artists hadn’t, because it was about him being inspired by this place spiritually. He also talked about the the book called ‘The Cloud of Unknowing’ which is a mystical 15th century religious text, containing the idea that there's a veil between us and understanding of all that is of God or Heaven, and it forms an unfathomable mystery. Religion or spirituality as you know requires faith, and so we try as humans just to apprehend what's beyond, and in that way learn something about humanity and about ourselves.

RDM:

Rose, much of your work deals with landscape and the abstract, but in this series we've got a strong figurative element. The figures are impressionistic, which carries its own tradition and power of expression, and there's also the sense that the figures are actors within a Greek amphitheatre. Can you describe how the figures relate to the theme of the series, and is there an ordered sequence?

RS:

It's the idea of entering this forest, it's like the literary device of the hero's journey, the idea that you step over a threshold into a challenge, a place that's separate from ordinary, and it felt mythical just being there on the first of June on this quest. I really like what you said about a Greek amphitheatre and actors on a stage. The figures in the forest represent a search for for meaning, and you think of Celtic stories, which are timeless. It is fairy tale to see all of this in a small pocket of forest, which is just surrounded by ordinariness, with small towns and roads all around, but it is just a mythical spot. With the people, it’s about the concept of mutual support, and in some of the paintings you can see where we're helping Richard because he is physically fragile, and there's the presence that we all face of death, seen in the effigy in the tomb, and also rebirth, that was present with the fact my niece was there with her partner and their baby, although that didn’t find a way into the series.

RDM:

Returning to the Cloud of Unknowing, they were perhaps there in an invisible sense, even though they're not figured. Have you asked your niece about her memories of that day?

RS:

She just thought it was a beautiful day. I know that having just been a mum for the first time for two months, she was exhausted, but she and Manuel were absolutely open to the beauty of the day.

Rose Strang, Forest of Luffness 5, oil on canvas, 30” x 30”, 2025

RDM:

I suppose if you thought solely about the themes of war and death it could could have been quite a bleak series, but it's very different in feel from other tales of solitary travels where people come to a bad end. I’m thinking about Schubert’s ‘Die Winterreise’, and of Stravinsky’s ‘The Soldier's Tale’, both bleak, but you've made your series somehow full of hope, and made this connectedness between people who had no part in the story of the Crusader, but they come together on this pilgrimage as you've described it. Was that important for you, to bring a sense of healing and togetherness?

RS:

Yes, definitely, I’m not someone who wants to wallow in darkness. There is enough darkness, the presence of an effigy, and also that strange crack in the tomb underneath the effigy which takes the shape of a bird except it's black and you know that you are facing death, as we all have to face it. But that's part of life and also all this beauty is part of life and hope. When I first started the series it was a little bit darker but it was still about somebody's spiritual journey.

RDM:

Rose, looking back to your development as an artist, sorry if it’s a bit of a clichéd question, but can you tell me if any artists or movements have had an impact.

RS:

Yes, just many, and sometimes I find myself day after day just sifting through hundreds of images. Sometimes that that can really impact you in a negative way. You just have to try and muddle your way through to your own style. There are many artists whose style I love but it doesn't help me find what it is I'm trying to express. I mean landscape art, I love Ilse D’Hollander, and Erik Hoppe, and I like a lot of Scandinavian and Northern European artists going way back to Vermeer. In the Northern landscapes, you feel the human presence even though it's absent. There’s a sense of not looking at a view, it is somebody's psyche unfolded in a landscape.

RDM:

So that ties in with the very strong narrative element in your work?

RS:

Yes. And then of course other artists that aren't just painters: Joseph Beuys has been an influence.

RDM:

Can I ask if you make preparatory drawings?

RS:

Sometimes yes, just to familiarise myself with the subject, to bring out a pattern. I think as an artist you're always trying to not simplify it, but also you're not there to paint every detail and make things precise. That's the only reason I will do preparatory drawings, but sometimes I'll just get straight onto a painting and see what happens. I am a bit frustrated with this series because I really hoped to get more expressive and loose, and it ended up almost being the opposite. I started off quite abstract, and then as I've described came to a grinding halt. I went back to it, from photos and one’s own imagination enhancing it, just painting the beauty of that day with the strange presence of this group, and what the effigy says to us.

Rose Strang, Forest of Luffness 6, oil on canvas, 30” x 30”, 2025

RDM:

What determined your selection of medium and the size of the works?

RS:

The size of the works is probably restricted due to budget. There is always compromise, but I went to a size that I thought would make for a good exhibition, to show the ideas. When you’ve made an exhibition and it’s on the wall so suddenly, it strikes you how you've created this world. When I've lined them up around the studio, it really does feel like that day is glowing and it's back, and so I'm happy about that.

RDM:

You've employed a green / blue palette which creates a certain liquidity, and the figures are bathed in that light. At a broader level how does a portrayal of nature relate to our human concerns and the narrative for this series?

RS:

In a weird way, you wonder why these figures in this landscape are there, it's like in a strange way, they are separate from nature. In these paintings it's almost as if people are strangers to this particular environment.

I think it just immediately came to me that the forest has a fairy tale quality, otherworldly. I don’t mean that in the sense of representing Disney, but the challenges of the human condition contained in fairy tales, and what that suggests, with a lot of folk mythology coming from forests. Forests can be quite quite terrifying. This one is benign but there's there's a couple of paintings where I've showed a darker side of the forest, just a sense of being overwhelmed by nature. I’m interested in the relationship between humans and nature. When I was at Art College my dissertation ended up being about the contemporary idea of the sublime. If you go right back, the first ideas about the sublime came from Burke and then Kant, but I was wondering if it's still present in art today and what it’s purpose is. That would be the whole concept of being faced with something that you can't comprehend or that’s bigger than you. It's a classic romanticist thing, what that challenge does to the human psyche; does it make us move forward or does it crush us. Talking of artists that inspire us, I mean when you look at Joseph Beuys’ work, it doesn’t look like it on the surface, but I think his work is very romantic in that way.

RDM:

Coming back to the Crusades, a contemporary audience would not approve of war being in the name of religion or motivated by greed, or imperialism. Outside of these geo-political considerations, can I ask what inspired you in relation to the story of David Lindsay's life and death?

RS:

Well, artists will reflect the challenges of their times and I always find that a real challenge to do. You can go and just simply paint terrible scenes and you've done your duty, you've painted something that's unpleasant or tragic, and I've always struggled to know how to depict that. The last time I really took on the challenge was probably in 2016, and I was trying to create a series of paintings responding to what was happening in Damascus. I called it the Damascus Rose series, because I love the scent of Damascus Rose. Of course, the production of Damascus Rose had to come to a halt in Syria, and so I painted a large piece of wood with a rose, which made a beautiful colour. Once that was dry I created a map of events and Damascus with tape and then covered all of that with bitumen, and then took off the tape so you just had these sets of streets. The rose was just hidden underneath that darkness and because people talked about it, one of the reasons people had avoided being killed when it was being bombed, was that they hid in the very narrow ancient streets of Syria and that immediately makes you think of somewhere like Edinburgh with its tiny closes, and it brings it home to you. I’ll try and tackle the whole theme of the awful things that are happening currently, but I find it extremely challenging, because I don't like to immerse myself or anybody else in that darkness.

RDM:

I understand that answer, but how then have you taken David Lindsay's story to the light?

RS:

Lindsay went from seeking religious glory or the soul through violence, to then changing completely as they were dying, to seeking peace. The Priory is a very peaceful place, a place of contemplation, of compassion and of peace. Beyond his own death he is giving something to the people, quite the opposite of a privileged perspective.

RDM:

Thinking about the contrast between the crusades and the present, so much has changed since the Crusades: the technological revolution, the whole fabric of society, all different. What aspects of the story have you developed which are universally relevant to us all in 2025?

RS:

Well, I know that there's lots of research into modern day pilgrimage. It’s interesting that in the past five years, more people are seeking meaning through pilgrimage, whether they're religious or spiritual, or atheist. That’s what I'd like to continue to pursue, my work on landscape and pilgrimage. I would really like to go on a pilgrimage, in Europe or beyond, and just paint landscapes and people interacting with landscapes. I find the subject of people searching for meaning to be fascinating, and that's what this series has given me a real understanding of.

Rose Strang, First of June, Forest of Luffness 6, oil on canvas, 12” x 12”, 2025

RDM:

Well it created a great impact, just being there that day. We were out of the world, in nature, seeing Richard interact with the sculpture, and understanding so much about death and renewal. Rose, do you have any plans for an exhibition of the series?

RS:

I see this is something that's going to happen quite organically. There’s a documentary being made by my niece's partner, Manuel Penuto, and I’d like that to coincide with an exhibition of the paintings. Ideally I would like to get something ready for Richard Demarco's birthday, which comes up in July this year. I want to kind of just keep it organic and within the local community, and then see where it goes. I don’t see it as a commercial venture, that’s not what it's about. There are other paintings that you do to sell, but this series is not. It would be good to see it in a public space somewhere. Richard Demarco has talked about Papple Steading, near Whitekirk. It could be something that could show in a variety of places.

RDM:

I'll just finish by asking the question about the transcendent power of art, and how can we make that power of art accessible for this and future generations.

RS:

Well, what was interesting about the lockdown was how much art sold, I mean every gallery would tell you this happened, at a time when people were isolated, knew someone who was ill or had died, or couldn’t be with loved ones. These were people who might not usually prioritise art. I think we seek meaning from art – all of us – especially during times of trauma. We’re not all just looking for something nice to match the curtains. So when major art institutions, galleries or museums talk about ‘accessible art’ I wonder what they mean. Sometimes it looks as though they under-estimate people.

Given time to contemplate, or when we’re in the middle of one of life’s challenges we ask deep questions. Why else would people turn to art, or creative expression during the most desperate scenarios, such as violence, illness, trauma or war, if this wasn’t true? I don’t equate ‘accessible’ art with simplicity, entertainment or ease of understanding.

Access to the arts has much to do with wealth or lack of it. We continue to monetise art, or if you're coming from a more administrative perspective, it seems we must tick boxes that coincide with centralised ideology, which is absolutely death to creativity!

So I go back to people like Joseph Beuys, who talks about the real value of art, of creativity in general – something we all possess - or people like Richard Demarco who never ceases to question the way society perceives, encourages or destroys creativity.

I’ve come to realise that people like this, who encourage artists to think about meaning rather than pleasing the art world in commercial terms, are very rare. It’s interesting to see what I create, or what artists or any creative thinker creates, when encouraged in that sense. That’s how we transcend, and I think that’s when we do more than simply repeat ourselves – we go somewhere beyond, and in that sense, creativity is very similar to pilgrimage.

RDM:

The cycle of paintings is a great achievement, and it contains the whole human journey from birth to death. You’ve made the tenderness of the experience of facing advanced age and death very apparent, and you've surrounded us all in this company of pilgrimage within the series which has relevance to everybody in our modern world, in effect inviting every viewer into this symbolic forest.

RS:

That's a really lovely thing you said, and it's not me who has done this, it's everybody who's wanted to get involved and brought everything, their soul and intelligence to the situation. Sometimes when you're painting you don't really know what it is you're getting across and it can be some time later that you start to see more of what you're doing, but one thing is, it's definitely about the relationships and about the fact that Richard Demarco was getting older and as I mentioned, he’s been really important in my life; artistically inspirational and supportive.

RDM:

These are definitely universal themes, and I hope that the series gets the attention it deserves. Thank you so much, Rose, for this interview.

Rose Strang, Forest of Luffness 8, oil on canvas, dipytch, 30” x 30” and 30” x 12”, 2025

Footnotes - search for history of the Carmelite Friary at Luffness

The house of Carmelite friars at Luffness is first mentioned in 1335-6, but may have been founded in the previous century. (D E Easson 1957; RCAHMS 1924; Trans E Lothian Antiq Fld Natur Soc 1929)

At the E end of the N wall of the church, a recess contains an effigy of a knight in late 13th century armour. The position is that normal for a founder's tomb. This effigy proves that the friary was founded several decades before it first appears on record. Also, the proportions of the church compare with late 13th century mendicant churches outside Scotland (e.g. Alnwick Carmelites, Brecon Dominicans). (C. McWilliam 1978)

The Carmelite Order of the Whitefriars …. could fit the bill for John of Bickerton who was a tenant of the nearby Luffness Castle in 1296. An alternate suggestion is that it is of ….. Sir David Lindsay who was on a crusade in Egypt. During his time there he met a met a Carmelite friar and it was said they agreed to set up a friary at Luffness. This may have been due to Sir David dying of an illness or wound and wanting his embalmed body to be returned home. (Fabulous North website)

Robert De Mey © 04/08/2025

Rose Strang - condensed Curriculum Vitae

Rose Strang was born in Edinburgh, and has exhibited throughout the UK at the Royal Scottish Academy, City Art Centre Edinburgh, Open Eye Gallery, Heriot Gallery, Graystone Gallery, Resipole Gallery, Kilmorack Gallery, the Limetree Gallery in Bristol, The Demarco European Art Foundation, Corte Real Gallery in Portugal and Gallery One, Berlin.

2018 – Professional Member of the Society of Scottish Artists.

2010 – Cultural Leadership Training, London School of Design.

2001 – Post Graduate Diploma, Museum and Gallery Studies, St Andrews University.

1997 – BA (Hons) in Fine Art and Related Arts. Chichester University.

1989 – NC in Art and Design, Telford College, Edinburgh.

Website: https://rosestrangartworks.com/

Insta: @rose.strang