Royal Scottish Academy, New Contemporaries 2020
“sombre… impressive… ominous… an eloquent summary of her concern with Brexit, climate chaos and alarming political polarisation” – The Scotsman, Art review: RSA New Contemporaries, Royal Scottish Academy, Edinburgh (2020)
Participatory intuitive sculpture event by Bibo Keeley, funded by an Aberdeen City Council Creative Funding Award and also supported by Friends of Seaton Park.
Degree Show (Gray’s School of Art) 2019
“The best work makes a virtue of variety. Bibo Keeley makes haunting sound works, grows plants in bottles and has made an impressive set of sculptures from a deconstructed piano.” – The Scotsman, Art review: Gray’s School of Art Aberdeen Degree Show 2019
RSA (Royal Scottish Academy) New Contemporaries 2020 Award
2018 (bronze, verdigris patina, height ca. 60cm)
(bronze, stone, ca. H 19cm W 20cm, D 15cm)
exhibited as part of Art for Animals at Jenners Edinburgh, 2018
(bronze, granite; ca. H 30cm, W 8cm, D 8cm)
This bronze sculpture is based on the Aberdeen’s early 20th century cast-iron Kelly’s Cat sculptures which decorate the balustrade on the largest single-span granite bridge in the world. I modelled it in wax and cast it in bronze; it sits on a granite plinth.
Exhibited at Moray Art Centre, Findhorn in May 2018, and as part of Art for Animals at Jenners in Edinburgh in October 2018
cast bronze, ca. 15cm high, on granite plinth
‘Winterschlaf’ is German and means hibernation. Literally it translates into ‘winter sleep’. This sculpture was inspired by the bat colonies at Haddo House and the thought of the approaching winter.
willow, ca. 4x3x1m (2017)
Video documenting the making and installation of WINTERSCHLAF
cast bronze, ca. 20x15x10cm (2015)
Stylized representation of an Eagle’s head, exhibited at Aberdeen’s Pentland Fine Art Gallery in 2016. Please click here for more background info.
bronze, glass, water ca. 40x40x40cm (2015)
(exhibited in the Shared Heart Exhibition which was officially included in the visit of HRH the Prince of Wales to the Golden Jubilee Hospital)
Weathered ceramic: I left this sculpture outdoors, exposed to the elements for months. During this time, the glazing faded, cracks appeared and clear marks were created on the surface. I didn’t protect it from the wind; it could have blown over and broken. But it didn’t. I see this as a reflection of our experiences during my husband’s long critical illness.
ceramic, ca. 40cm high (2014)
A SPECIAL KIND OF STRENGTH (2016)
cast ceramic, ca.80 x 60 x 25cm (2016)
This ceramic sculpture was exhibited during the 2016 International Women’s Day Conference at the Aberdeen University Elphinstone Hal.
It has 10 inspriational (non-religious) ‘commandments’ impressed into it, which reinforce positivity and self-respect.
When the ceramic came out of the kiln, it had broken in half during the firing. In Japan there is a tradition of repairing broken ceramics with gold lacquer, which values repairs as part of the history of an object.
By repairing the damage and highlighting the mend with gold paint, I too embrace the history of not only this sculpture, but also what it represents. I see it as a metaphor for the determination of women to overcome obstacles and even oppression, to heal and find pride in their achievements.
THE EXAMPLE WE SET (2014)
Plaster (moulded in shop dummy), plastic doll, inks.
Engraved are words associated with women’s lives and messages of understanding and acceptance. The words become more positive and encouraging towards the centre.
The video features my sculpture and an excerpt from the 2003 book Lauter Starke Mädchen (Strong Girls Galore) on how to raise self-confident girls by Sylvia Schneider.
This is the read text in English:
In every era there has evidently been one common ideal, a kind of collective beauty queen – above all in the minds of influential men.
This beauty ideal has always been determined by the same people: kings, others in power, churches, those with commercial interest and artists who were commissioned to create pictures.
Women themselves have rarely been asked their opinion.
This is still the case today – even if we think it isn’t because we believe that we have a free choice.
We too experience today’s beauty ideal through the eyes of others.
Women of past centuries have also conformed to the contemporary ideas whenever possible.
Be it the ideal of the Venus of Milo, the ample forms of baroque or any other style.
The statues and paintings were a kind of early fashion magazine as they gave the fashion ideals against which women were measured.
The beauty-conscious women after the height of the baroque period forced themselves into corsets again since there was no natural alternative for the new beauty ideal of the thin waist.
In the same way women today are expected to fast, jog and work out until they keel over and if necessary shove their finger down their throats as if this was a nature-given law.
Most models are unable to do their job without the assistance of certain ‘aids’. Plastic surgery, appetite suppressants, eating disorders, alcohol, a variety of drugs and substances become part of their daily life.
‘The entire industry is one big lie’ said 17 year old model Tina in an interview Stern magazine.
‘We take cocaine, speed, valium, appetite suppressants in order to stay thin and f*cking happy.’
Many models pay the price with addiction and life-long illnesses. Some of them have even paid with their lives.
And this is supposed to be an example for our daughters?
ceramic, each ca. 30cm high (2013)