May 242013
 

Voice’s Old Susannah takes a look over the past week’s events in the ‘Deen and beyond. By Suzanne Kelly.

dictionary

Another busy week flies past in our future Capital of Culture: this weekend sees some great artistic talent on show.  The Aberdeen Artists’ Society exhibition is a great, enjoyable, eclectic collection of contemporary art, currently running at the Art Gallery.

There were some interesting interactive works (bring your smart phone), a few very striking works (one by Mr Florence particularly caught my eye), and some intricate glass etching.

Keith Byres was one of the exhibitors, and I will be stopping by at Under The Hammer on Saturday to see some of his other new work.

The River Don Project is a collection of photographic images reflecting the River Don area. The opening for this show is on Saturday 1st June from 5pm to 7 pm in St Machar’s Cathedral, and all are welcome.

Local photographers spent time with Alicia Bruce documenting the river. In particular there are some amazing wildlife images which caught my eye, of birds, seals and beautiful plants along the river. We have a great many artist-led cultural initiatives; please do show your support by visiting some if not all their shows.

The creative arts are assuredly flourishing, but perhaps it is in creative writing that our area truly excels. Never mind the likes of authors John Aberdein, Fiona-Jane Brown, Graeme Milne and Stuart MacBride; it’s the civil servants, planning officials, newspaper execs and ATOS which have provided some amazing prose this week.

People have sent me replies that they’ve had from ATOS and the Press & Journal. I think you’ll enjoy these. I’ve read the recent report by Anne Ramsay of Aberdeenshire Planning Office, recommending a green light for Trump, despite deviation from the approved plan. He got his way, which is of course a huge surprise.

He couldn’t have done it without Ms Ramsay’s report-writing skills. With a few strokes of the pen, a giant, unapproved bund of earth plonked in front of Susan Munro’s cottage, which brought many problems has been transformed into a landscape feature. The pen is mightier than the sword, or indeed than the truth in this case.

In fact, the pieces of writing I’m referring to are amazingly convincing, so much so that I want to share them.

You too will realise that the Trump course is the greatest spot on the planet, that the P&J is the champion of truth and accuracy, that ATOS really cares deeply about everyone it deals with, and that there are no drawbacks whatsoever to building an industrial marina in Nigg Bay.

It is time for some truth-related definitions and more importantly, some of the greatest examples of creative writing you’re likely to come across outside of a Jeffrey Archer novel. Diogenes was a figure in Greek mythology who searched high and low for an honest man. He clearly should have stopped into our Shire council offices and newspaper’s newsrooms.

Universalism: (noun) A school of thought in which truths are unchanging black-and-white facts acknowledged and recognised.

A Universalist believes that some truths are fixed and unchanging. ‘A Site of Special Scientific Interest’ means a legally-binding designation which protects areas from damage or development.  This would once have been an example of Universalism. In this school of thought, facts are respected and held to be true unless proved otherwise.

This school of thought has no business in the city or shire today. We are happy to compromise on inconvenient facts and truths concerning planning law, environmental protection, anything really, just to prove that we are ‘open for business’. What we need for the ‘smart successful Scotland’ we’ve been promised is a little less Universalism and a whole lot more Particularism.

Particularism: (noun) A school of thought in which ‘truth’ is subject to change, depending on circumstances, depending on relationships between people and groups, and other factors.

‘A Site of Special Scientific Interest’ means a flexible designation which may or may not matter depending on who wants the designation removed. This is an example of Particularism. And we certainly do have our own Particular brand of truth in the Deen.

Let me share some examples of this convenient form of truth to illustrate the point.

Letter from ATOS

You may remember a recent Aberdeen Voice article on the experiences of David Brazendale with ATOS. He was ordered out of his post-op bed to go and get a work assessment.

Arriving at the Aberdeen ATOS centre, he was told he’d have a two hour minimum wait. Any other person who’d just been under the knife would have been happy to sit on a hard chair in an empty waiting room for two hours or more.

I guess David was just being difficult, but for some reason, he wasn’t happy. To be fair to ATOS, there was a crowd of one other person in the waiting room. David really shouldn’t have bothered the terribly busy receptionist, but he asked if he could come back in two hours rather than hanging around. Obviously, this was not possible.

For some reason or other, David wasn’t satisfied with this state of affairs.

The written ATOS policy statement says people will be telephoned if there are cancellations or delays. Of course, people have no excuse, surgery included, for missing an ATOS appointment, and rescheduling is not an option given to the ‘clients’, as ATOS chooses to call people.

Mr Brazendale wrote a letter of complaint, and got a wonderful, warm, helpful reply:-

“I have obtained comments from the Service Delivery Manager responsible for Atos Healthcare in Edinburgh… I was very sorry to read of the upset and inconvenience caused by the waiting times….On this occasion the reason for Atos Healthcare not being able to conduct an assessment was because more customers attended appointments than anticipated and the assessments took longer than anticipated to complete, which caused a delay and in some cases, customers had to be sent home unseen …the receptionist did not call you beforehand to advise you of this, as she had no indication of how many customers would arrive for their appointment or how long each assessment would take.   I do sincerely apologise for the upset and inconvenience you have experienced…”

Some people might think the above is just a bunch of meaningless drivel with little application to the actual truth of the matter. But we know better, poor ATOS.

Not only do they seem to have no manager in Aberdeen, they have absolutely no way of telling who will come to an appointment or how long an appointment will last. Amazing. I pity the poor receptionist who has no idea who’s coming or how long they might be. Perhaps they are using crystal balls and tarot cards?

The way my medical practice operates is this. They have this thing called a ‘schedule’. They know how many doctors will be in each day, and they make these things called ‘appointments’ for patients.

They limit the number of ‘appointments’ and ‘patients’ so that there aren’t any long waits. If for instance a morning appointment was running very, very late, they would actually use a ‘telephone’ and call the next ‘appointment’ to let them know about the lateness. It is complicated, but I think ATOS should be told.

The worst part is that because of David’s selfish complaint, the poor, overworked ATOS manager had to look into the situation all the way from Edinburgh and issue a sincere apology. The ATOS manager is now probably very very upset and worried about causing someone an inconvenience, as they’ve never done this before.

David should be ashamed, and the manager should take some time off work to recuperate from stress, much like ATOS lets others recover from stress and illness.

Fabrication: (noun) An invention or creation; an untruth.

While I was trying to think of examples of fabrication, I coincidentally came across the web page for Trip Advisor.

I had been looking for reviews of the Trump course and clubhouse following a harsh Press & Journal review of the clubhouse restaurant. They’d only given it 27 out of 30 points, which just goes to show how fair and impartial the P&J is. While trying to find other reviews for this excellent restaurant, I wound up on Trip Advisor. Well, I was not sure whether I was on Trip Advisor or Confused.com…

Having read the superlative review by a Press & Journal writer of the Press & Journal Editor’s wife’s company restaurant, I expected that others would also adore the course and the food. From the polarised reviews of the course and the food, I felt sure there must be two Trump International premises in Scotland. To some reviewers one seems to be the best golf course ever invented.

To others, the Trump complex is an expensive waste of time and money. I suspect there is some fabrication going on.

Apparently there are people who actually place fake reviews on Trip Advisor! These people fabricate reviews to endorse or condemn hotels and resorts.

Clearly, it is a wonderful course with great food, all affordably priced and perfect.

Worse, these people often hide behind pseudonyms and/or don’t disclose whether they have a connection to the place they’re reviewing. I can hardly believe someone would conceal an interest in a place while writing about it, it’s enough to make a bride blush.

How can you tell which are genuine reviews and which are fake? Perhaps a clue can be found in how long the reviewer has been with Trip Advisor and how many other reviews they have submitted, I thought. You might for instance be suspicious of reviewers who have only reviewed one or two venues and who are brand new to Trip Advisor.

However, my theory didn’t stand up to the test, for many if not most of the pro-Trump reviews are from those who have only been to one other place and/or are brand new to Trip Advisor. Clearly, it is a wonderful course with great food, all affordably priced and perfect.

I suspect the people who said they didn’t like it are guilty of fabricating negative publicity, and the people who say it is great must be the honest ones with no possible self-interest. Here are some of the comments:-

Trip Advisor pro-Trump comments:  Obviously Genuine:

Tony M (1 review) “If you have one course to play in your lifetime, make it this one… facilities and staff are superb… (Trump) has done a fantastic job… only problem I can see in the future is if they stick this wind farm up….”

GolferKnowledge (1 review) “…the course is to-date in very good condition… extremely playable… not a course to miss if your [sic] serious about your golf.”

PHFJones (1 review) “(Trump) has created a wonderful addition to the top 20 courses in the world… if you like links golf, this is one that must be on your list…”

James B (2 reviews)  ”… if it is not listed as not just the best course in Scotland but the best course in the world in the next 5 years… then it is an absolute crime”.

It’s almost as if these people were reading from the same hymn sheet. Since they all agree, they have to be right. Now to the less favourable comments from people who think the greens are greener elsewhere.

Trip Advisor anti-Trump comments:  Obviously Fabrications:

Jack G (2 reviews)  “overpriced … must be to buy more grass seed as there is missing grass on the fairways, many more traditional links nearby for half the fee.”

StuckinAberdeen (5 reviews) “Half of the fairways looked like Roger Moore’s hairweave, acres of sandy soil crisscrossed by interlocking thin green lines of freshly planted grass that had failed to grow this season…. We were given no warning how poor the fairways were…The course should not be opened until it is in a playable condition.”

GeraintE (3 reviews) “the condition of this course is worse than any other I have played in Scotland. Staff are blaming the weather, but the fact is they have the wrong type of grass on the fairways!”

Poor Mr Trump! Poor Malone Bates! How anyone can complain about the marvellous course is unclear. I hope Trump will start issuing some more lawsuits to see off the fake reviewers, and that Trip Advisor will likewise have a look at the reviews on its website to see if there are any patterns indicating that fabrication is going on.

Disingenuous: (adjective) To knowingly feign ignorance or innocence; to distort the truth deliberately.

As you know, the happy union of Sarah Malone (VP Trump International, Face of Aberdeen) and Damian Bates (Press & Journal) is a fact – or Universal Truth, to use a previous definition. There is a marriage license.

Seeking more information on our favourite power couple, someone wrote to ask why the P&J didn’t make more of this happy event, which mysteriously got no press cover in Bates’ paper. I wonder why that could be. The letter writer asked why Malone, so often quoted in the P&J, Evening Express and more on behalf of Trump, and Bates getting married wasn’t front page news.

I am grateful to have been copied in on the wonderful response the P&J sent.  Here is what the P&J have to say on the matter:-

“Beware of using Private Eye as the sole basis for your assumptions about the Press and Journal! I would say their tone on this particular subject has been skewed in a certain mischievous direction. As a result, you have duff info, I fear: the Trump employee to whom you refer is not his “chief spin doctor” and neither has Press and Journal coverage been biased. Sorry to spoil the story!

“The integrity and fairness of the Press and Journal has always been one of our core strengths and remains so today. We actually check the accuracy of stories before publication, would you believe! If you were a regular reader, you would know this already. Perhaps I could interest you in taking a subscription!”

It may be tricky, but I suspect some Voice readers may spot one or two disingenuous sentiments in the above. And mischief making is going on as well! Never mind that the newlyweds have such mutually entwined interests, which no doubt adds to their marital bliss, the information is ‘duff’.

Sarah Malone, VP at Trump, might be the person in Scotland who makes the statements to the press, but clearly Private Eye’s description of her as ‘chief spin doctor’ is wildly inaccurate, and throws the whole story into disrepute. Alas! The story is spoiled, according to the email’s sender, David ‘whata’ Knight.

As to the Knight’s tale: the integrity and fairness of the P&J, and the accuracy of its stories, checked before publication, well, words fail me. I am certain Private Eye will now print a complete retraction and apology as soon as they are aware of Knight’s email.

Obviously our trusted officials, newspaper supremos, planning officers and ATOS managers  wouldn’t put pen to paper to say something which wasn’t true. The point is that truth is no longer straightforward.  I’m certainly not going to call any of the writers I’m talking about blatantly dishonest, self-serving, disingenuous liars, although I can see why some people might.

Next week:  Hopefully a reply from MEMAG:  they were asked questions about environmental protection at Menie as this is their remit.  I’ve been waiting since January, no doubt a detailed response to allay environmental concerns can’t be far off now.

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May 172013
 

Oil and Glass was opened in Torry in May 2012 when it was chosen as a winning business in Aberdeen City Council’s Retail Rocks scheme. After a very successful first year, Shelagh Swanson, the studio’s owner and artist in residence, has taken on the retail unit in her own right. Included in her plans to expand the business is the development of additional studio spaces for artists.

Shelagh Swanson To celebrate the studio’s first birthday, Shelagh will be undertaking a marathon painting and glassmaking session from 1000 on 23 May until the same time the following day.

Other artists, working in a variety of media, will be joining Shelagh in creating work, to be sold by silent auction to raise funds for their chosen charity, Momentum Aberdeen Brain Injury Services.

The public will be able to pop in at any time during the event to watch the artists at work and follow progress.

Finished creations will initially be made available for bid via the Oil and Glass Facebook page, but the culmination will be a silent auction at the birthday party on Saturday 25 May from 1900-2200, when all the artwork made will be exhibited.

During Shelagh’s marathon, Hidden Aberdeen Tours will be providing free storytelling sessions Tales of Old Torry from 1500 to 1700, and Terror Tales of Old Torry between 2300 and 0100 – not for the faint hearted!

Shelagh decided to support Momentum Aberdeen Brain Injury Services when the lovely Rhian Johns, who has been helped enormously by the charity, was taken to the studio by her mum Iris to commission a painting.

Rhian’s story is featured on the studio’s webpage where there’s also a preview of a further fundraising event, Top Hats and Tiaras Grand Ball, due to take place at the Hilton Treetops on September 14.

Rhian and Iris will be joining Shelagh in the studio during part of the event and will be available for photographs.

Oil and Glass
64 Victoria Road
Torry
Aberdeen
AB11 9DS

Tel: 01224 905134

Email: shelagh@oilandglass.co.uk
Web: www.oilandglass.co.uk
Twitter: @oilandglass
Facebook: www.facebook.com/oilandglass

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May 092013
 

hexagon_dress_fashion_show_daniel_mcavoy_photography-2 By Suzanne Kelly.

“Don’t expect too much; these are only 2nd and 3rd year fashion students” was the caveat for a recent show by Gray’s School of Arts fashion students.

They were all a year or two at least from their final degree fashion show, and could hardly be expected to do more from their outing as fledglings.

The Seven Incorporated Trades of Aberdeen, headquarters on Holburn Street was the venue; the links between it and Gray’s stretch back many years now.

If anything, having such a beautiful setting and bringing collections in front of professional weavers and other craftspeople might well have proved daunting. 

No one – not even the course instructors, technicians and course leader knew quite what would happen.

Stunning

The organisation, the students’ speeches, the elegant wine and canapé reception were polished.  But the calibre of the work on show was beyond all expectations.  There wasn’t a piece on show which couldn’t have been in a final year student’s collection.  Imaginative, daring, colourful works were all on show, but perhaps the biggest surprise was the number of pieces which could have instantly translated to retail.

Standouts

A man’s slightly oversized tweed coat had an asymmetrical back seam; it moved beautifully.  A tweed tulip-style short-sleeve dress in an earthy gray-green featured brightly coloured orange silk insets at the hem, rising to differing heights towards the model’s waist; it was an elegant and wholly modern and refreshing use of tweed.

The orange inserts caught the eye and made for an amazing colour contrast with the muted colours of the body of the dress as the model walked.

Other tweed pieces for women were eminently wearable.  These outfits were sophisticated and ideal for work, and quite timeless.

A simply cut sleeveless dress featured dozens (if not hundreds) of delicate, possibly hand-painted hexagons of multi-coloured material, probably silk.  The overall impression these hexagons and colours gave was three-dimensional, kinetic, elegant, highly original and extremely. pleasing.

A long, romantic dress tightly fitting then cut with high, thick fringe at the skirt melded several types of fabric dyeing/printing together beautifully; the colours were muted but large patterns made it a very striking piece.

Memorable work came from every collection; there were beautiful blouses (a blue and white number seemed ready for high-end retail), skirts, asymmetrical coats…

Designers and Sponsors

The collections were Tweed Outerwear, Covered, Body of Space, This Place is Dreaming, Knack & Knave, Anarchy, Colour Against Conformity and Alternative.

As a final piece of professional fashion show tradition, goody bags were supplied containing gifts from Lush Cosmetics and literature from some of the sponsors, which were The Aberdeen Weaver Incorporation, The Seven Incorporated Trades of Aberdeen, Amicus Apple, Lush, The Athenaeum, and Daniel McAVoy Photography.  The makeup for all the models was done by one person – Emma McMahon – who also had work in the show.

The Future

Gray’s School of Arts Libby Curtis spoke briefly at the end of the show; she genuinely seemed as surprised by the calibre of the show and the organisation as the rest of the audience.  A member of Aberdeen Weavers had very positive things to say as well.

Recognition is growing for the Fashion arm of Gray’s, and this trend seems set to continue.  At the final degree show last year, the list of awards, prizes and internships won by the graduates made for a long, impressive list.

This crop of students look set to raise the beam further.  They look set to succeed on a foundation which clearly encourages experimentation, creativity, and collaboration.  There seems to be no fear of tradition or elegance, and no reliance on sensationalism or gimmickry.  This will be a crop of students to watch.

May 022013
 

Peacock Visual Arts presents Colour Abstracts, a new solo exhibition of large-scale oil paintings and prints by Scottish artist J. Gordon Brown, inspired by the Granite City.

flower-2012-oil-on-canvas-72-x-102cm On 10 May 2013 Peacock Visual Arts will open its doors to reveal a new solo exhibition of dramatic large-scale oil paintings by J. Gordon Brown.

It will also include a new photo etching, created specially for this exhibition, in collaboration with Michael Waight in Peacock Visual Arts’ print workshop.

Winner of the first prize at the Aberdeen Artists Annual Exhibition 2012 for his painting, Night City Jazz, J. Gordon Brown offers an alternative, abstracted view of the city lights.

His paintings are grand and beautiful, portraying scenes of Aberdeen that may not be recognised at first. Using ambiguous photographs of the city at night as the starting point for the paintings he plays with the idea of abstraction, selecting and editing the images until an acceptable meaning or association attaches itself to the work.

As a special addition to Colour Abstracts, and in collaboration with Iain Gildea, Digital Manager at Peacock Visual Arts, Brown has entered into the world of the moving image. The film, along with the full collection of paintings and new prints, will be revealed at the opening, 6pm on Friday 10 May 2013.

Kirsty Young, Communications Manager at Peacock Visual Arts says:-

“J. Gordon Brown’s paintings are breathtaking – we are all desperate to see them in situ. We hope they will capture visitors’ imaginations as they have ours”.

Exhibition Runs: 11 May – 15 June 2013
Opening: Friday 10 May 2013, 6 – 8pm

May 022013
 

With thanks to Dave Mcdermid.

billy-connolly Now in its third year, the Aberdeen Art Fair is returning to the Granite City this summer. It provides the North East public with a superb opportunity to view a diverse range of contemporary affordable and original art, sculpture and photography, from the best local and national galleries and artists.

The 2013 Aberdeen Art Fair, held in association with oil giant TAQA, will be launched at the Music Hall on the evening of Friday 16th August and will be open to the public over the weekend of 17th and 18th August.

As organiser Gerry Muldoon of GM Events, outlines, once again there will be something to suit all tastes and budgets.

“In a very short time, the Aberdeen Art Fair has established itself as Scotland’s fastest growing and friendliest original art event and it has become a welcome addition to the country’s thriving arts calendar.

“While we are already almost at capacity, the final two exhibition units remain available, with full details on the website at www.aberdeenartfair.co.uk.  

“I would again like to say a huge ‘thank you’ to TAQA for their fantastic support and understanding as to how significant an event the Aberdeen Art Fair is.”

Leo Koot, TAQA Bratani’s Managing Director commented.

“I’m very pleased that TAQA is lending its support again this year. The Aberdeen Art Fair is a wonderful community event and I’m delighted that it has become such a firm fixture in the Scottish Arts calendar.”

Conveniently located in the heart of the city, the Aberdeen Art Fair will again have something for everyone, with works on view ranging from around £50 to upwards of £10,000. The emphasis is on countrywide and local galleries and artists, with a mix of established artists and fresh, up and coming talent.

In addition, for those wishing to attend, there will be a host of investment opportunities available with galleries and artists coming from all over the United Kingdom and beyond. The event attracted almost 4,000 visitors last year, when Billy Connolly conducted the official opening.

A free children’s art workshop will also be featured, provided by I YArt, which will undoubtedly inspire the younger members of the audience. The whole experience will be one for all ages, and for people with a passing interest in art through to the expert.

The Aberdeen Art Fair is a unique opportunity to see two million pounds worth of art for £3 and will, once again, cement the event as one of the most sought after in the public’s diaries in the North East.

Entry to the third Aberdeen Art Fair will cost just £3 for a full day with free entry for accompanied children under 15. The fair will be open from 9.30 am to 5 pm on Saturday 17th August and from 10 am to 5 pm on Sunday 18th August.

Full details can be found on www.aberdeenartfair.co.uk. Visit www.facebook.com/abdnartfair to join the Facebook page for all the latest news.

Apr 292013
 

crosswordsfeat With thanks to Clare Rochford.

A new collection by city based poet Gerard Rochford was launched on Thursday 25th April.

Aberdeen Voice is delighted to have been granted permission to publish 3 extracts from Morning Crossword, which features images by local artist Esther Green.

Having got her hands on a copy ahead of the launch, 14 year old Jayde Naylor commented:

‘’These poems create strong emotions which draw you in. The images are mysterious and really cool.’’

.

Helgas Hat By Esther Green Helga’s Hat

I knew it was you, seen even from behind,
entering the gallery. I was going to sketches
of nineteen-forties fashion,
you, in your hippy-indian-sixties bonnet,
to the Diane Arbus photographs upstairs.

This synchrony means nothing.
The forties, sixties, the now of you and me,
our guarded secrets. Only you would know
the meaning of the hat. Arbus could have snapped us,
called it: ‘Old Man , Old Hat.’

Yet there we were chatting about your friend,
my daughter, how we want her to study art,
thinking of the future, surrounded by the dust
artists have left to decorate our minds.
I said: Arbus killed herself.

Then I regretted exposing the negative
in this hall of echoes, where the fountain
gathers coins, and Epstein’s
‘Girl with Gardenias’ could be Eve,
inviting us to savour nakedness.
Helga climbed the staircase and I left.

.

Tod Death By Esther Green Tod Death

My mother, after the fashion of her day,
wore a dead fox to decorate her neck.
Sometimes, when she was out, I tried it on.

It fastened with a button made from bone
and a loop of leather like a hangman’s noose,
those glass eyes pleading:

not quarried by the bloodied riders of winter,
but shot for its pelt to glamourize a coat.

Mother, who would cry at the death of a bird,
sported a fox around her elegant neck.

.

Malverns By Esther Green Climbing the Malverns

Reaching the top we would lean upon the wind,
my brother and I trusting its fathering power,
our coats spread out like wings.

And those invisible hands held us,
pushing on our backs and driving us forth,
or facing the past, the drowned-out voices
growing faint as osprey riding the thermals.

In the east we saw the sun
reflected from our father’s house,
to the west, the Black Mountains of Wales,
an unknown land.

The summit café was owned and served by a person
neither man nor woman – confusing for a child.
We took our pennies there for tea, stole glances.
I wonder what happened to them –
the man-woman and the boys we were.

Morning Crossword is published by Malfranteaux Concepts in association with Koo Press.
ISBN 978 1 8709 82 8.
Price: £10.

http://www.malfranteaux.co.uk/

Apr 222013
 

The Woodend Barn, Banchory, presents an evening of captivating contemporary culture at on 25th April.  David Officer tells Aberdeen Voice.

unravel We’ve got two things to be incredibly excited about this week.

First, we have an innovative art installation entitled #Unravel utilising 7″ records, social media, acoustic instruments and storytelling, and secondly, we have a new company in residence – the wonderful physical theatre group Company of Wolves.

Both of these exciting events will combine on the 25th April when we have the opening for #Unravel starting at 5.30 p.m. in the gallery and then a sharing for the Company of Wolves production of Invisible Empire at 7.30 p.m. in the main hall.

These events are free to attend and we’d love as many of you as possible to come along.

#Unravel

#Unravel has been created by Edinburgh based arts-collective/experimental pop band FOUND and Glasgow musician and author Aidan Moffat.  Both artists are signed to the legendary Glasgow record label Chemikal Underground and spent a year working together on the #Unravel exhibition.

Aidan had to write 10 short stories, each sound-tracked by 160 new compositions created by FOUND.

The exhibition is controlled by 7” records which trigger acoustic instruments around the room to soundtrack the story told by the narrator on the record.  It’s not the first time FOUND have done innovative things with records – in 2011 they released a chocolate record that could be played on a record player and was completely edible.

FOUND – the members of which include Ziggy Campbell, Kev Sim, Tommy Perman and Simon Kirby – also created Cybraphon, the world’s first autonomous emotional robot band.  The music it plays changes depending on its mood which is set by mentions on social media and the internet.

The artists have carried some of this innovation into #Unravel, with the music developing depending on the time of day, what’s being said about the exhibition on the internet, the size of the audience and the local weather.

This reflects how a real narrator would change the telling of a story to suit its audience, as tales would evolve with circumstance and even memories would distort and warp depending on influence from elsewhere.

The preview is in the Gallery at 5.30 p.m. on 25th April, after which the exhibition runs from 30th April to 8th June.

The Gallery is open from 12 noon to 4.00 p.m., Tuesday to Saturday.

Company of Wolves: Invisible Empire

Using voice and text, movement and song, Invisible Empire traces the psychological progression from conformity and alienation to extreme acts of resistance.

This performance is a live interrogation of our conflicting tendencies to conform and to rebel; to justify our actions by any means necessary; to lose ourselves in the morass of modern life; and –sometimes – to stand firm and resist.

Commenting on Invisible Empire: Work-in-Progress at the 2012 SURGE Festival 2012, theatre critic Joyce McMillan described it as:

“… promising and contemporary, using deep resonances of choral music…

 “The atmosphere is clear, adult, humorous yet serious; and the sound is simply sensational.”

The sharing takes place in the Main Hall at 7.30 p.m. on Thursday 25th April.

Mar 142013
 

Peacock Visual Arts are proud to welcome renowned paper maker Jacki Parry to exhibit in the main gallery.

jackiparryexhib Resonance (Paper As Memory) will include a selection of handmade paper sculptures and prints, both large and small scale, free standing and wall mounted.
Works will include the large scale installation Ocean, which cascades from the ceiling like a large ‘ocean wave,’ alerting us to both the natural and textile-like qualities of paper.

The Boolakeel Series of handmade digital prints, which play with paper’s association with mass communications; while their subtitle, The Wind Among the Rushes, leads us to the scene in Boolakeel, rural Ireland, which inspired their creation.

Small sculptural pieces such as Yellow Venus, which almost seem to burst with air and showcase Jacki’s skills at sewing, folding, and weaving paper, alongside making it.

A number of these works featured in Jacki’s exhibition ‘Resonance’ at Glasgow Print Studio in 2012. This exhibition at Peacock Visual Arts will also showcase some exciting new work currently in progress, plus an interview with Jacki, filmed earlier this year in her Glasgow studio.

About the Artist

Jacki Parry was born in Wonthaggi, Australia, and graduated as a teacher of secondary art and craft from Melbourne Teachers College. Jacki moved to the UK in 1965, and Scotland in 1970 where she has lived since. In 1972 while a student at Glasgow School of Art Jacki became one of the founding members of the Glasgow Print Studio, and had her first solo exhibition there in February 2012 to open their 40th anniversary celebrations.

In 1985 Jacki founded Gallowgate Studios, Glasgow with partner and painter John Taylor, where her studio, The Paper Workshop, was established.

In 1991 Jacki was appointed Senior Lecturer, Head of Printmaking at Glasgow School of Art, where she continued to teach until her retirement in 2006.

For the past 30 years Jacki has continually explored the material and perceptual possibilities of paper and print, studying with the master American papermaker Laurence Barker in Barcelona, and Tadao Endo in Shiroishi, Japan.

Jacki now works full time in her Glasgow studio, and was elected to the Royal Scottish Academy in 2009. She has also lectured and exhibited in the UK and internationally.

Kirsty Young, Communications Manager at Peacock Visual Arts says, “We are all very excited that Jacki is bringing this exhibition to Aberdeen. Not only will we see work included in her first solo show from 2012, Resonance, but also a selection of brand new work. This is a fantastic opportunity to get up close to, and be inspired by, some very delicate and beautiful pieces of paper sculpture’.

  • Exhibition Runs 23 March – 4 May 2013
  • Opening Friday 22 March, 6 – 8pm
Feb 142013
 

peacockanimpic139 With thanks to Kirsty Young – Communications Manager, Peacock Visual Arts.

Peacock Visual Arts’ inaugural In Motion Animation Festival presents an exciting programme of short and feature films, curated from around the world and screened at The Belmont Picturehouse.

It will also feature an intriguing exhibition of drawings and paintings by award-winning artist/animator Thomas Hicks and workshops for all ages, taking place at venues across the City of Aberdeen.

The festival is co-curated by Susie Wilson and Thomas Hicks.

http://www.peacockvisualarts.com/events/403/in-motion-animation-festival-2013

In Motion Animation Festival 2013 – Programme Live!
22 February – 9 March
Opening 21 February, 6 – 8pm at Peacock Visual Arts, all welcome!

Peacock Visual Arts, 21 Castle Street, Aberdeen, AB11 5BQ

Tel: 01224 639539
Mob: 07525 123425
email: kirsty@peacockvisualarts.co.uk

Open Tue – Sat 9.30 – 5.30pm admission free
www.peacockvisualarts.com

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Jan 172013
 

bibo-weber-pic1 Constellations, an exhibition of work by German artist Bibo Weber will run at MUSA in Exchange Street from 15th January until  24th March, 2013.

An Aberdeen resident since 2009, Bibo creates sculptures and other artwork in a variety of media and techniques, using natural materials like driftwood and ceramic as well as non-organic materials and found objects.

Her artwork deals with our connectedness with nature and the transience of life, and is influenced by imagery of supernatural beliefs from different cultures and inspired by the forms she sees in the natural world around her.

Bibo often brings her sculptures into a natural environment in which she feels it merges with its surroundings and, by doing this, creates temporary installations.

A wide range of Bibo’s recent work, including sculpture, photography and ceramics, can be seen in Constellations, her first solo exhibition, which runs at MUSA from this week.

The main elements in Constellations are the tall wooden sculptures which are loosely based on the totems of North Pacific Native Americans.  A totem can be the symbol of a tribe, clan, family or individual, and it bears testimony to a close affinity to nature.

By using symbolic shapes and texture and the use of mainly organic material, Bibo’s artwork explores the spirit of people and nature, interspersed with imagery of the North East coast of Scotland as seen through the artist’s eyes.

bibo-weber-pic2 The main material from which the sculptures are made is recovered wood which, once carved and shaped, is resurrected in the form of narrative constellations.

Bibo arranges and photographs these constellations to evoke specific encounters – similar to pictures in an old family album.
Some of these photographs, which are taken along the Aberdeenshire coastline, can also be seen at the exhibition as large-format prints.

One of the works in this exhibition, Yamatanka, is a large, mixed-media, full-head mask which Bibo was inspired to create after seeing a performance in Aberdeen by a group of Tibetan monks from the Tashi Lhunpo Monastery.

Yamantaka is the Tibetan god of wrath who overcomes death by adopting the appearance of Death and whose terrifying appearance is said to protect us from external evil.

There are also some of Bibo’s ceramics on display and, in keeping with the general theme of ‘natural environment’ these small sculptures and vases are inspired by the forms, colours and textures of kelp seaweed.

Over the last year Bibo has contributed to a number of exhibitions in London, Chichester, Edinburgh Paisley Dunkeld and Aberdeen and is planning another Constellations exhibition which will be held in the Duthie Park Winter Gardens later this year.

Constellations runs at MUSA, 33 Exchange St, Aberdeen, from 15th January until 24th March.  See www.musaaberdeen.com

Further information.
Website - http://www.outsidein.org.uk/Bibo-Weber
Email  biboartwork@yahoo.co.uk