Filter, Limousine Bull at Estaminet, Aberdeen, 6 June – 8 September 2004.

Review first published, ‘a-n’, August 2004.

Intelligently curated by recent Gray’s School of Art graduate Kirsty Anderson, ‘Filter’ brings together seventy or so diverse photographic works by sixteen artists – most of whom are members of Aberdeen-based collective Limousine Bull. This is the second collaboration between pub-club Estaminet and Limousine Bull – a fruitful partnership which adds another lively city centre venue to what is a resurgent artist-led scene in Aberdeen. And ‘Filter’ gives its audience a lively mix of straightforward and more subtle lens-based images.

Whilst there are, by way of Katrina Thornton’s work, some simple (and seemingly ubiquitous) photographs of urban environments which speciously cite the discourse of the ruin, there are also, conversely, some delicate and unexpected photographic insights into the domestic from Lyndsey Neill, arresting miniature montage pieces, Fridge Collage and Sandwich.

Whilst Neil Henderson competently presents straightforward snaps of (only slightly) moody music gigs, Sarah Matheson’s theory-informed photographic predella genuinely engages us, punctum-style, in a reverie about the perception of time as a layered phenomenon.

Alison Paterson’s 100 per cent dose of our recommended daily allowance of architectural photography (from seemingly compulsory vertiginous viewpoints) is counterbalanced by Craig Barrowman’s inventively doctored photo of a Czech metro station which, pointlessly yet rewardingly, shows a guy ambling perilously along the tracks towards a tunnel.

Neill, Matheson and Barrowman subtly joggle given images and place themselves confidently in a lineage of altered ready-mades to good effect, doing much more with their images as a result than the so-called observational photographers present here.

The real highlights of the show are, firstly, Jim Ewen’s Upone, Uptwo, Upthree comprising three photographs of the inside of a lift; a serious-minded cycle which deals cleverly with implied movement versus the aesthetic of static abstraction – a refreshingly deliberate use of the camera to visualise a carefully considered philosophical conundrum. Secondly, emergent artist Ziggy Campbell makes an apposite appearance at Estaminet with his Tinturntriptych and Failed Audio Project Version 1.3, works that continue his long-standing investigation into visuals that have their genesis in sound.