Once again, blessed with lovely weather but sadly cursed with a hungover head. Being the soldier I am, I put on a brave face and we ventured to the West Shore to tick off a few in the 50s.

53. Heather Cunningham. Heather’s style is loose and easy.  Her mixed media work was of most interest where she paints onto tissue or other exotic papers to good effect. Discovered that the suspected pregnant cat from last year was, in fact, just fat.

52. Gina Wright. A firm favourite from previous years, Gina’s pastels are bewilderingly detailed and truly come to life a few steps away. While a lot of her work on display is from the East Neuk and surrounding areas, it was Hopper-esque chefs and the pictured street scene that really caught my eye. Gina’s also good enough to leave a few sketchbooks scattered around and these pads are better than some venues with a few images that put me in mind of A Scanner Darkly. Excellent work.

51. Vicki Dreyer and Una Monteith. Vicki paints cows. And puffins. And dogs. But mostly cows. Fortunately, I like cows. Una makes clocks, the kind of which I’d imagine Tim Burton has a lot of in his house. It’s an unusual mix and all contained in a venue that you practically have to limbo to get into but, again, it’s refreshing to see work that doesn’t typically fit the Pittenweem theme of seaside and fishing boats. However, if you don’t like cows, or can’t bend, it’s probably best avoided.

50. Bob Anderson. Julie was very taken with Bob’s work, but for me it was a bit too easy, too loungey … all of it would fit in fine in any living room or show home and I’m sure he’s a talented man, but I just couldn’t connect with it and it left me a bit cold.

49. Louise Scott. Our first “wow” of the day came from Louise’s photographs of rockpools in Orkney, zoomed in and blown up so the pebbles at the bottom sparkled like gemstones. This small collection looked too perfect to be a photo but Louise assured us she only altered the size so Photoshop hadn’t been used. Louise’s main body of work is copper-plate etchings of seahorses and hares but she does it in such away, they look like illustrations of Norse mythology.

47. Venue 47 on Mid Shore is a massive holiday home and housed the work of four artists. Arguably, Pat Kramek is the better known out of the bunch and got the lion’s share of wall space with her bold coastal landscapes in oil. My pick, though, was Sara Mead’s more playful, almost fairytale landscapes in bright, sweet colours. You can see her stuff here.

54. Angie Turner and Suzi Morrow. We love Angie Turner and we love her fairground inspired work. We bought another carousel horse. She gave us wine. Our little corner of the world was perfect. If she updated her website, I’d tell you about it here.

42. Nanzie McLeod, Sarah McLeod, Esther McLeod, Jules Duncan. A massive mix with Esther’s OK Computer style slogans on fabric really catching my eye and making me rather ill at ease at the same time. As per last year, one of us tripped over the step. This time, it was Julie.

41. Jennifer Pettigrew. Another of the larger venues but dedicated to Jennifer’s abstract oils. I wasn’t much in the mood for abstract so a lot of it frustrated me a little bit and I ended up concentrating more on the price than the content. That said, her use of warm, inviting colour and the scale of some of the pieces was something even I, with my grumpy bear mood, could appreciate.