The rains came today and they brought technical difficulties that meant my extensive notes were lost to the ether. The net result of this is I’ll just be commenting on the venues that stuck in my mind. I’m sure if I hadn’t mentioned it, no one would’ve noticed. So. Onward. Starting the day at the east end of the High Street.

1. Dovecot Studios. Julie’s remark upon arriving at the venue was to advise me that these were the weavers she’d heard about. When she stepped in, she said, oh, no it isn’t. A few seconds later and her opinion had changed back. The reason for the confusion? Well, angle your peepers a few degrees to the right. That’s knitted, that is. The work here is far beyond what I thought was possible with thread outside of Bayeux. Quite remarkable.

36. David Graham. Last year, David’s photography from Bhopal was unapologetic and stark. This year, his focus remained on the less fortunate souls on the planet, ranging from young Rwandan refugees (one of whom clutches a copy of Harry Potter and the Order of the Phoenix as though it’s a golden pass of literal escapism) to Calcuttan porters. David tends to take his subjects and place them in front of a white backdrop and the effect is profound, accentuating the helplessness of the situation. A one-armed man with a massive metal crate balanced on his head, who earns 50p for carrying it from one place to another, seems stuck in an even more baffling situation when removed from the colour of its context. I also managed to overhear David recommend a Panasonic Lumix DMC FX500 to one of his assistants. So if you’re in the market …

6. Fisher Gallery. The Fisher is one of those places in Pittenweem that seems to be a guarantee of success. Work just falls out of Fisher and little wonder. Jan Fisher is to my mind the most accomplished watercolourist at the festival and although I bemoan the amount of East Neuk landscapes, Jan’s work shows how it can be done and still look fresh and worth repeat visits. Also featured is Robert Cairns. Robert usually exhibits in his own venue but this year he seems to be here just as a spectator. We’re fans of his pen & ink work and this year he’s used stretched composition to capture the narrow wynds that snake their way through the village. Across the road in Fisher 2, we were thrilled to get a chance to enjoy the sculpture / don’t-know-what-you’d-call-it by Elaine Allison. Last year, Elaine exhibited with Angie Turner. This year a few of the same items have moved down West Braes to the Fisher’s more avant-garde sister venue and she’s sold four. Little wonder. We discussed this with Angie yesterday, but Elaine seems perfectly comfortable with taking hugely personal subject matter and cutting all ties with it. The image here is of an old typewriter she found and the keys have old sepia photographs of her family members. It’s a remarkable piece. More of her work can be found here.

18. Anita Hutchison. Another favourite from previous years, Anita gets major kudos for always bringing brand new work each year and she doesn’t disappoint. Her exhibition this year is inspired from Munro-bagging and, as she describes, the little gardens you find on the top of fence posts. This translates into small, squares of fabric using scraps of map and knitting patterns and various fabrics. For such small items, the work is warm and familiar