Published in The Herald, Saturday 13th October
Article by Phil Miller
Sir Sandy Crombie, chairman of Creative Scotland also revealed two
board meetings, on October 22 and December 6, will play a crucial role
in the future of the arts funding body.
Sir Sandy, responding
unexpectedly for the second time in a week to the damning letter from
more than 100 artists asking for change at the body, struck a notably
less combative tone than his letter earlier in the week, which was
described as "inadequate" by artists, with a tone of "patrician
emollience".
His first lengthy response to the artists had said that "in choosing
to be concise, you have of course sacrificed the provision of detail at a
level that my board colleagues and I can investigate" and also stated
"they who provide the money have a right to ask what will result from
that investment". Both phrases, among others, antagonised artists.
However, in his second letter, days after a brusque "sort it" message
from Culture Secretary Fiona Hyslop, Sir Sandy admitted: "A number of
artists and representative groups are taking issue with how we at
Creative Scotland do things and how we relate to them.
"The board and senior management team are hearing these concerns and
right now are taking stock and absorbing what has been said. I want to
give my personal reassurance that all matters brought to our attention
will be thoroughly considered and, where possible and necessary, that
improvements will be made."
Two inquiries, made up of board members, one led by journalist Ruth
Wishart, a columnist for The Herald's Society page, and the other led by
Barclay Price, chief executive of Arts and Business, will look into the
funding body's operations and its lottery funding.
The two committees will report before Christmas and major changes at
the organ
isation, including in personnel, are expected to be prompted by
their work.
Creative Scotland's problems have been prompted by not only the
removal of "flexible funding", or fixed-term funding, for more than 40
organisations, but also its use of business language, its commissioning
role, and its structure.
Creative Scotland is now also considering establishing a new
"consultative forum" to help inform on issues affecting artists and
organisations.
Sir Sandy, former chief executive of Standard Life, said: "It is also
my intention that we will take informal soundings from a range of those
who care deeply about our role, and how we discharge it, about possible
approaches to dealing with issues before final decisions are taken. I
do not want to put pressure on those we consult by calling them
representatives. However, I hope it will be possible to find approaches
that give us confidence the feedback we receive is representative."
Last night, the leading playwright, David Greig, responded: "This is a
very encouraging statement. I get that sense that the specific concerns
have been heard at Waverley Gate [Creative Scotland's offices in
Edinburgh] and a process of practical change is being put in place.
"Rebuilding trust with the sector will be a more difficult matter. It
will take time but, for the moment, this statement feels like a step in
the right direction."
Yesterday, Ms Hyslop told The Herald: "I strongly believe in direct
communication, that there will be a resolution and a way forward.
"I have made it clear to the board what I expect. They are taking it
very seriously and I expect to see results."
The chairman of Scotland's national arts funding body admitted in a
conciliatory letter it has a major problem in its dealing with artists.
I am an artist making work that incorporates installation, video, sound, sculpture, performance, & writing to explore the human condition. I investigate ways to immerse the audience in multi-layered psychological & physical situations.
I trained at Leeds College of Art & Design (Foundation), Glasgow School of Art (BA (Hons) Fine Art: Sculpture & Environmental Art) and Newcastle University (Masters of Fine Art).
My lived experience of eating distress & obsessive compulsive disorder informs the work I create & the way I work. Some of the consequences of living with these conditions are that rigour, routine & attention to detail are fundamental to my way of life, all of which are integral to my creative practice; using the constraints of systems, I allow chance & playful elements to create unexpected results.
My work is regularly exhibited in solo & group exhibitions across the UK, USA, Canada & South Korea & is contained in various public collections. I have a number of public artworks, been commissioned to produce site-specific work & have taken part in national & international residencies, consistently since 2005.
2020-21
Awarded Arts Council England Developing Your Creative Practice funding for a printmaking residency with Charrington Editions
Byre-Group exhibition in which I created a site-specific installation alongside some creative writing
Everything Will Be Alright-an audio installation at Cheeseburn Sculpture, commission by curator Matthew Jarratt
Filling Time-a watercolour calendar-based work, currently exhibited at BALTIC centre for contemporary art
Lockdown Diary-a daily online process since March 2020, that has been acquired by the Wellcome Collection
Home Time-a creative tool for public, inspired by Lockdown Diary, commissioned by New Writing North
Inclusion in a new Alec Finlay publication.
I work in my studio at NewBridge Projects in Newcastle & as well as my solo work I collaborate with David Foggo as marginendeavour; I am often invited to speak to students, artists & facilitate workshops.
Website: www.helenshaddock.co.uk
Blog: https://helenshaddock.blogspot.co.uk/
Twitter: @hshaddock
Instagram: /helenshaddock
Facebook: /helen.shaddock
Vimeo: /hshaddock
YouTube: /helenshaddock
LinkedIn: /helen-shaddock
Education
Master of Fine Art, Newcastle University, 2016
BA (Hons) Fine Art: Sculpture and Environmental Art , Glasgow School of Art, 2008
Diploma in Foundation Studies (Art and Design), Leeds College of Art & Design, 2005
No comments:
Post a Comment