SCULPTURE should be seen in situ, and Kildrummy Castle in Strathdon, a

ruined Jacobite stronghold, provides a dynamic backdrop for these 14

exhibits by selected artists from Great Britain and beyond, four of whom

are displaying invited works which are to remain in North-east sites.

Attracting young experimental artists, their visible enthusiasm and

creativity encourage you to get involved with their work, using the vast

hilly space to enjoy both individual pieces and the entire show. Peter

Bevan's Gazebo, a hollow-built representation of a human figure, is the

most interactive, as you can step into its cocoon and peer out through

its many haphazardly pieced holes.

Here are comments on humanity, society and the organic world -- Laura

White's Breathe is a hatched limestone pod whose slug has travelled down

the grass bank, while Charles Polson's Soft Machine is disturbing -- its

green and pink concrete piled like damp, mouldy rolls of blankets.

There is past and present history -- Diane Maclean's Shoe echoes the

tower of an ancient castle, and Agneta Stening's Throne of the Horn is a

granite echo of Cretan history.

The most memorable piece for me is by Iain McColl (official assistant

war artist with Peter Howson in Bosnia), who models his piece on the

notorious Bosnian gang who attack travellers -- the Fishhead Gang, three

looming black-hooded figures whose thin-shaped heads, blown by the wind,

follow you around.

Joseph Ingleby is the humourist of the group -- Reservoir Tap with its

steel vat and flower-like lid is an almost abstract, organic form. This

exhibition transfers next month to the MacRobert Art Centre at Stirling

University where it will be on show until December.