Mary Fedden’s Shetlands, 1978 is a striking still life composition infused with elements of landscape. The foreground features a simple yet bold arrangement: a vase of flowers placed on a table beside a large, pale blue fish. The flowers—predominantly pansies in white, deep purple, and yellow – introduce a vivid contrast against the more subdued background.Beyond the still life, a maritime landscape unfolds. A lighthouse stands prominently in the middle ground, its stark white façade contrasting with the darker hues of the sky and sea. A small boat drifts in the grey waters, while the rooftops of traditional buildings anchor the composition in a coastal setting. The scene is framed on the left by a vertical band of warm ochre, possibly a window frame or curtain, adding structure and depth.The juxtaposition of still life with an outdoor vista is a hallmark of Fedden’s work, lending the piece a dreamlike, almost surreal quality. The combination of domestic objects with the wider world beyond suggests an intimate yet expansive view of Shetland life.The painting exudes a quiet, contemplative mood. The cool, darkened tones of the background suggest an overcast or twilight setting, reinforcing the sense of calm. However, the flowers in the foreground provide a burst of warmth and life, creating a sense of balance between the intimate and the distant, the interior and the exterior.There is also an element of whimsicality in the depiction of the fish, which, though lifeless, has an almost animated presence, with its large, staring eye. This playfulness is characteristic of Fedden’s work, where everyday objects are imbued with personality and an understated sense of humour.Fedden employs a muted yet expressive palette, dominated by cool greys, deep blues, and blacks in the background, punctuated by brighter, warmer hues in the foreground. The flowers, with their rich purples and yellows, contrast beautifully against the subdued tones of the sea and sky, drawing the eye towards the central still life arrangement. The ochre strip on the left serves as an additional warm counterpoint, balancing the cooler hues.Light in this painting is subtle and diffused. There is no dramatic source of illumination; rather, the forms are softly defined, enhancing the painting’s quiet, poetic quality. The slightly flattened perspective and use of tonal variation suggest an intuitive, almost folk-like approach to light rather than a strictly realistic one.Painted in oil on canvas, Shetlands, 1978 showcases Fedden’s distinctive style – a blend of modernist simplification and traditional still life arrangement. The brushwork is deliberately textured and visible, lending the surface a tactile quality. The paint application appears somewhat dry and layered, adding depth and subtle tonal shifts.Fedden’s style is often described as a fusion of naïve art and post-impressionism, with a strong sense of design and composition. Her forms are simplified yet expressive, and her colour choices carefully considered to evoke mood rather than strict realism. The slightly flattened perspective and juxtaposition of elements create a harmonious yet slightly surreal effect, making the painting feel both intimate and expansive.This painting embodies Fedden’s deep appreciation for both the domestic and the natural worlds. The presence of the fish hints at the maritime culture of the Shetland Islands, a place where fishing is deeply embedded in daily life. The lighthouse and boat reinforce this connection to the sea, while the still life arrangement suggests a moment of quiet reflection, possibly indoors, looking out towards the rugged landscape.The combination of everyday objects with a broader, almost theatrical backdrop aligns with Fedden’s lifelong interest in storytelling through still life. There is an element of nostalgia, a timeless quality that makes the painting feel like a memory or a fleeting impression captured on canvas.Shetlands, 1978 is a beautiful example of Mary Fedden’s unique artistic voice – playful yet thoughtful, simple yet deeply evocative. Through her careful balance of colour, composition, and texture, she creates a scene that is both grounded in reality and tinged with poetic abstraction. The painting invites the viewer to pause, observe, and appreciate the quiet beauty in the everyday, while also offering a glimpse into the rich coastal landscape of the Shetland Islands.
