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Margaret Tait
Images recur; poppies, the garden, flowers are powerfully returned to in Garden Pieces.

In The Leaden Echo and The Golden Echo, the child walking along the kerb is echoed by the walk of the poet in Hugh MacDiarmid A Portrait. Images of the sea also reappear, as sources for trading, and boats, such as the Shetland Trader and the Islander in the harbour in Aspects of Kirkwall Some Changes‚ or the visiting cruise ship in Colour Poems. These boats would be known to the islanders, their sailing times marking out the day. The unpredictability of the sea is evident in the powerful change in tone in the first part of Happy Bees, from the children in the garden to the view of the sea and cliffs, echoed in Blue Black Permanent's seas for swimming and looking at, but also for being overcome by, swept away.

Images of the social, the communal, politics or the political feature in Tait's films. North Sea oil, No Uranium signs in shops and the crowd of demonstrators filling a street with their presence. There are banners against proposals to drill for Uranium on Orkney and the Greenpeace boat, Rainbow Warrior, at harbour. Tait records the changing landscape of Kirkwall in Aspects of Kirkwall Some Changes, filming parades and events, like those dignitaries seen coming out of an event during the St.Magnus Festival (the composer Peter Maxwell Davies is seen in the group) and the old soldiers marching in Colour Poems. Her images show the changing seasons for example in Land Makar,or the winter scenes of Aerial and , Where I Am Now . The largely treeless Orkney landscape is both wide open and intimate in Portrait of Ga, Land Maker, and Orquil Burn. Tait records family, people, buildings such as the croft of Land Makar, and the former family home of Buttquoy House in Place of Work and Tailpiece, now divided into flats.

Still from Land Makar by Margaret Tait, 1981
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