Agnes Little
‘Glanmore’
Photography
2023
Agnes Little is an artist and also sometimes other things. And is currently based in Glasgow but also sometimes other places. Their practice leans towards the use of moving image, installation and performance but also sometimes other things.
This work explores family history, memory, and the passing of time in relation to a physical space. This photograph depicts the ruins of the Carty family home, in Ballinasloe, Ireland, accompanied by my mother's text extracted from postcard written to her mother upon her first visit to the place.
Website: lordagneslittle.com
Instagram: @lordagneslittle
Claire Duquesne
'Neahkahnie Mountain'
2020
Fabric tapestry
Claire is first and foremost a photographer; a collector of moments. Inspired by early 20th century photographers such as Robert Doisneau and Vivian Maier, she sees moments best through film photographs. Taking note of Rinko Kawauchi’s careful narration of her life, she captures the senses that make up her own. She is heavily influenced by the nature she grew up in as well as the people who raised her. When asked what time period she would travel back to, her first answer has always been 1968 when Bob Dylan went electric and Patti Smith was on the brink of her first album. Music, imagery and their effect on the senses is a language through which she intuits and tries to communicate. She uses it to explore people, how they are defined by the spaces they live in physically, culturally and historically as well as the way they express themselves through the material world.
Child of the Pacific Northwest, raised here and there.
NO SOCIAL MEDIA
Ellen Magee
‘The wandering mind ‘
Photography
2023
I am a fashion photographer who primarily focuses on concept series that reflect the lives of my models and my own personal stories intertwined. I enjoy mixed media and alternative processes but shoot primarily in digital.
Photo captured at Boscatle Cornwall at sunset.
Ellis bairstow
‘3’213m of Thread’
Installation
2024
Thread around Beams
Ellis Bairstow is a photographic artist based in Glasgow, Scotland, who specializes in documentary and street photography. He is currently completing his final year at the Glasgow School of Art (GSA), where he is pursuing a degree in Fine Art Photography. Ellis' creative practice goes beyond photography; he is also deeply involved in curation and the broader art scene.
Glasgow was once the high rise capital of Europe, with more people living in high rise buildings than any other city in Europe. Since this the city has reversed its decision to use tower blocks as forms of social housing and has demolished 102 tower blocks, with more scheduled for demolition. This piece showcases the height of these buildings combined in one long piece of thread.
@Ellis.Bairstow
Freya McKinty
‘1:1’
Installation
2024
Tape on Floor
Freya McKinty is a Northern Irish artist, currently based in Glasgow. She works primarily in printmaking, exploring the fabric of the built landscape though woodblock and collagraph prints.
My work aims to capture the essence of a space, deconstructing places and then reconfiguring the fragments to form a new structure. Through isolating sections and textures, spaces are redefined through specific features, emphasising the aura that is felt when inhabiting them. A degree of ambiguity is left, mirroring the subjective experience of inhabitants and users - which allows viewers to borrow the fragments for their own imagined scene.
Instagram: @freyaartwork
Georgia R. Lawrence x Tom Gibson
‘Breathing Deeper’
2024
Installation
‘Is This Okay?’ Is a collaborative series between the conceptual artist duo Georgia R. Lawrence & Tom Gibson. The series title suggests both a larger question of ‘Is This Okay?’ In regard to grand scheme questions that tackle the laws of physics, politics, and culture, but also poses the smaller more intimate question of ‘Is This Okay?’ As the couple challenge each other’s limits as a creative duo.
‘Breathing Deeper’ is a rework of a previous piece by collaborators Georgie R. Lawrence & Tom Gibson titled ‘Breath Deeper’. This previous work consisted of a CRT placed in a space with a one minute long tape recording of a meadow and sky. This recording was exactly that which existed directly through the wall that the CRT was placed against, functioning as a gimmick window. This installation abstracts the concept further with nothing but a painting of the horizon line taped to the front of a non-operational CRT monitor.
@GeorgiaRLawrence - @est.gibson
Joe Gelder
‘Salutation from the dark’
Photography
2024
4 framed prints
Joe gelder, originally from lancashire, England and now based in Glasgow, is a landscape photographer, currently studying at Glasgow School of Art.
My photography is informed by concepts of perception and experience. I document my individual experiences in conjunction with the natural landscapes that I find myself in. My works are often private journeys given public form.
Instagram: @goejelder
website: JoeGelder.co.uk
Jonathan Pratt x Tom Gibson
‘COPYPASTE’
Photographic manifestation of a performance
2024
A collaboration between Jonathan Pratt (ctrl-c) and Tom Gibson (ctrl v) that seeks to experiment, extort, and disturb data, digital objects, and modernity.
Two individuals play the roll of characters Ctrl-C and Ctrl-V. Ctrl-C relays the hexidecimal data of an image to Ctrl-V who in turn writes this data to a blank document. In doing so, the two characters should, in theory, be able to cooperate in their actions and produce an exact replica of an image. This image will then be printed and displayed for the audience to see and in turn the original image and it's data will be destroyed, making the copy the new original.
@skodeer - @est.gibson
Katy Morton
‘Grangemoor Park’ & ‘Railway Gardens’
Photography
…
Everything selected, refine down in install period
I am a documentary photographer currently based anywhere, who explores the relationship between people and the natural world. In previous projects I have focused on community stories in and around South Wales whilst living and studying and if I can make my work into a photobook, I will.
Grangemoor Park
Noun: A park is a public area of land with grass and trees, usually in a town, where people go in order to relax and enjoy themselves. – Collins English Dictionary Grangemoor Park is a public park situated in Grangetown raised 20 meters above sea level, filled with trees, walkways and acts as an escape from city life. The park provides people with a place for recreation and enjoyment of the outdoors. Overlooking Cardiff and bordering the river Ely it is the perfect quick dog walk or breath of fresh air, but when you enter from one of its many entrances you are quickly greeted with unusual structures. This is due to the parks original purpose, closed in 1994, one of Britain’s largest landfill sites, when 4 million cubic meters of rubbish was collected. Since its closure it has been leaking toxic leachate into the bay since at least 2017 due to mishandled documentation and unproper management. While landfill sites are a pragmatic waste solution, they should be viewed within the broader context to a transition towards more sustainable waste management practices. They act as a reflection of society’s consumption and disposal patters. Environmental Capitalism refers to the idea that there are economic incentives and business opportunities addressing environmental challenges and sustainable concerns. While exploring beneath the surface of beauty we find generations of accumulated waste, prompting reflection on its implications for the future of the environment and forthcoming generations. Looking down onto the metal hatches, taking the abstract approach to looking at the landfill site that lies beneath the park. Calling the project Grangemoor Park works as a juxtaposition of what you are expecting to be confronted with and what you are being shown. Looking at a solution that is in development to fix an issue of poor management and humans’ ability to mass produce waste and dump it where they see fit, which although has provided Grangetown with a green space you are still in reach of human misconduct.
Railway Gardens looks at the development and growth of a community garden that is being nurtured by the Splott community in Cardiff. The gardens when I first contacted them consisted of some empty shipping containers and some raised flower and vegetable beds. Railway Gardens, an area to educate, play, grow and reconnect with nature and people. A seed was planted and now is flourishing with color and community. Creating small businesses and a rich environment for education. What makes this all the more special is that it has been able to grow due to the dedication and enthusiasm of the Splott community. Dedication and determination shines through when immersed in this small corner of Splott and really shows what a community can accomplish when taking an idea a step further than just a passing comment. The images very simply bring you closer to understanding the passion for this place to strive.
Kaytlin Schmidt
‘South St., Under the Sault Ste. Marie International Bridge’
Digital Photograph
2024
Kaytlin Schmidt is a classical landscape photographer based in Port Huron, Michigan. She is currently a student at the College for Creative Studies (CCS) working towards her BFA in photography. Her images and photobooks have been featured in CCS’ Student Exhibition, Hatch Art Gallery, and the Sault Area Art Center. Through documentary and typological photography, she investigates the ordinary and the banal, as well as the natural landscape that is often intertwined with them. Her work centers around the Rust Belt, encompassing both her home of the Lake Huron coast as well as the greater region of the Northeastern and Midwest United States.
On the Heels of My Shadow investigates the quiet spaces within the Midwestern Rust Belt states of the U.S., and the relationship I have with them. A region characterized by its deindustrialization and population loss, the Rust Belt is filled with places that intertwine the natural, industrial, and residential aspects of landscape so tightly they cannot be separated. They are often peaceful, lonely, and overlooked, tinged with a sort of bittersweetness. I feel a strong kinship to these places; I relate to their melancholy due to my own depressive mind. It is cathartic to photograph them, to attempt to place a sort of temporary order upon their structure. I am constantly chasing my own tail, on the heels of my own shadow, to feel connected to the world around me, and places of the Rust Belt help stall my spinning motion.
Leah McDonald
‘A Big Pink Door’
Photography
2022
Leah McDonald is a visual artist working in Motherwell and Glasgow, whose work pushes long-established boundaries and uses public engagement to fulfil her work.
By using industrial materials such as wood and plastics, she creates site-responsive art that is absurd and quietly precarious. McDonald’s work takes various forms including sculpture, prints and installations, and is developed through light-hearted brainstorming and ultimately the enjoyment of making.
'A Big Pink Door' is a site-specific installation of a hand-built, free-standing door. The installation was a social experiment to gauge reactions to public art within my hometown. The piece lasted 7.5 hours in total (0000 - 0730) before being destroyed.
Instagram: @leahmcdon4ld_art
Lena Lee
‘My Land is the Sea’
Paper Sculpture
2021
Paper Work
I grew up in both Austria and Scotland, I spend a lot of time travelling and in nature, these are also the main driving forces in my work.
My work is an appreciation for nature and a way to replicate nature in more unnatural environments.
Instagram: @artlenalee
Malak Naseem
'Koari Floorplan’
Mixed Media
2024
Mixed media - lithograph and paintings stitched together with hair
Malak Naseem is a Maldivian/Sri Lankan artist currently studying Painting and Printmaking at the Glasgow School of Art. She predominantly explores themes of ‘home’: the fragile sense of belonging and the confusing tension within one's identity. As a mixed media artist, she allows herself to be dictated by the materials she uses, gain meaning from the materiality and relate it to her personal experiences.
Koari Floorplan’ depicts the shape of the floorplan of the artist’s childhood home in the Maldives, and consists of lithographs - depicting the coral stone bricks of her ancestral home - and squares of stencilled outlines of the floorplans using her hair as a painting tool. All the squares are stitched together using hair, thereby infusing the artist’s DNA and ownership of the land, to form the shape of the floorplan. The topic of land ownership is complicated in the majority of South Asia, especially for girls. The house, “Koari”, was supposed to be passed down to her after her father's passing. However, this process became complicated purely due to the artist’s gender: being a girl, therefore was automatically passed on to the men of the family. The work became a means to contemplate the process of obtaining Koari in her name.
Instagram: @malakn_art
Michael Mersinis
‘Earthquake / event #91’ & ‘Earthquake / event #44’
Large Format Photography
2019 - 2023
Previously to coming to Glasgow to study Fine Art Photography, I studied Political Studies and Philosophy in Germany and History of Art and Photography in Greece. The underlying interests of the purpose and utility of the photographic image are central to my work, as are the tensions that create contexts of reading and making.
Mersinis’ practice is centered around the questioning of the Photographic Image, the notion of the place as Evental Site and the translations that occur when the light comes into contact with a photosensitive surface. Current projects include a long project on the history, locality and imagination of fundamental typologies of place that are historically present and liminal and the pursuit of a political identity in the contemporary image as they are expressed in context of Home, Contested Geographical Territory and the Invisible Histories that are dormant in the land.
My research interests include the evental nature of the photographic image, and how the act of making both reveals and changes our surroundings, the importance of history and place and the continuous consideration of matter and material in the making, as well as how thinking and making allows for a position to be determined that is not only critical, but determined by medium, form and context.
Being outside, in the landscape is a prerequisite of encounter with things that are both visible and invisible. The Camera (with a capital 'C' or any tool for that matter) is an ally and interlocutor allow both the articulation and the experience of things that resonate through geology, geography and are in uncertain historical Contexts. Frequently engaging in research of historical texts to determine the location of work, I make works combining photographic materials with precious metals, in an attempt to involve the latency of the photograph as central aspect to an experience that is constantly in flux.
It is in the very nature of the photograph to mediate presence and absence and to allow for things to become apparent. A process of tracing with light (and perhaps even an alchemical transformation) is not one that simply records, but rather allows for processes of un-concealment to occur. The very materials I use, even the camera itself is caught between negative and positive, conditions that mirror the extreme processes of revelation and concealment. In this worldling of the photograph things are disclosed that are necessarily present outside of the camera. This partial view is one that interests me in a dialogue with the landscape, as it allows for the simultaneous consideration of subject matter and frame, and it has interestingly determined both the history of the medium, as well as the places I work in. The camera allows for not only a precise trace, but one that unavoidably connects the outside with the inside by an enframing of direct contact and unknown consequence. The photograph’s unique properties, allows for an enframing that speaks directly to both its own presence, as well as the presence it mediates. There is a dwelling that is made possible, both in place and in the image, and whether it is temporally determined, authentic or inauthentic, it is at the moment of exposure that it manifests.
The series of images is from a body of work called ‘Eathquake/Event’ that is in progress. Custom pinhole cameras are installed on islands, islets and unnamed rock formations across the seismic ridge in the Mediterranean sea between what is now Greece and Turkey. A location of political tensions, migrant crossings and military operations, the cameras remain dormant, until activated by the seismic activity of the area. Each exposure is initiated, paused, continued for the duration of the earthquake. The process, like the exposure is unreliable and relies on processes that are unpredictable, but catalytic towards the formation of image. The negatives when retrieved are printed using a proprietary method on stainless sheets coated with sterling silver. Each work is unique.
Instagram: @Michael_Mersinis
Sarah Palmer
‘Space Hopper’
Acrylic on Board
2024
Large Painting
Sarah is currently a student on the MFA programme at Glasgow School of Art, funded by a Leverhulme Master of Fine Art Bursary. Since moving to Glasgow, Sarah has exhibited at South Block Gallery, New Glasgow Society and the Glue Factory. After graduating from Wimbledon College of Art in 2014, she was shortlisted for the Works in Print Art Graduates Prize, selected for the Clyde & Co Art Award Collection and longlisted for Saatchi New Sensations. Sarah is a shortlisted artist at the 2024 BEEP Painting Biennial in Swansea.
The layers in Sarah’s paintings serve as a reminder that the world we inhabit is already full to the brim with vast strata of other images and meanings. Her practice explores what it means to be a painter (following a 40,000-year-old tradition) in the face of our oversaturation with visual culture. Her work considers how we experience reality through a variety of lenses, both literal and metaphorical; a window shields and protects, but it can also isolate, obfuscate, or mediate between realities. The structure of the window or mirror or screen creates its own picture plane, transforming the reality on the other side into a flat surface. Sarah’s paintings force the viewer to slow down to understand their pictorial logic, presenting a moment of respite from our hyper-connected state of existence.
Instagram: @sarahpalmer____
Tom Gibson
‘Newborn’
Installation
2024
one native to Scotland sapling tree
Tom Gibson is a conceptual artist that utilises visual media and process art within his work to explore and question ideas of existence, identity, and the connection between the internal and external self. His work touched base with the schools of thought of existentialism, semantics, and abstraction to attempt an understanding of the nature of life, reality, and purpose whilst gravitating towards absurdist methodologies. Tom is concerned with posing, rather than answering, questions, putting his focus on investigating the status behind normality, subjectivity, and bias.
🌲🌲🌲🌲🌲🌲🌲🌲🌲
Instagram: @est.gibson
Website: sirtomgibson.com
Tom Main
‘We Are Not All The Same’
Medium Format Photography
2024
2 Prints ‘Desperation’ & ‘Ineffectual’
This series of images investigates the traits and attitudes of ‘Men’ as a mostly humorous and irreverent view, however, some attitudes may not be so welcome such as coercive control making an appearance and showing of the insidious side of life. The series has been shot on medium-format film, scanned and finished as a pigment ink print.
Former freelance press photographer now currently studying for a BA(Hons) in Fine Art Photography at the Glasgow School of Art to broaden my critical understanding of the medium. My work takes references from human nature and the human condition which is an interestingly broad subject base. The work is mainly analogue black & white film and prints although a colour film and digital workflow has been used for this project.
Website: thomasmain.net
Vimeo: https://vimeo.com/user148413442
Instagram: @tmainphoto
William Armstrong
williamlakearmstrong@gmail.com
‘Best Iced Capp Around’
Acrylic on MDF
2024
Was not the original painting
William Armstrong is an artist from Red Deer, Alberta, Canada. He holds a Bachelors in Fine Art from the Alberta University of the Arts, and is currently studying a Master of Fine Art at The Glasgow School of Art. He can often be found taking long walks to Tim Hortons coffee shops.
My practice involves walking to the edgelands of cities: the retail parks, industrial sectors, and suburban estates. Using imagery observed through these lengthy walks, my work highlights the curious collision of the strange and banal which is experienced in these homogenous, sprawling environments which surround us.
Instagram: @lakearm
William Farmer
‘Grit’
Sculpture
2022
Engraved gritstone
Will Farmer is an artist and writer from Sheffield. He graduated with a BA(Hons) in Fine Art from Manchester School of Art and is currently studying MLitt Art Writing at Glasgow School of Art.
A well trod wilderness,
the puddle which transitions from dust to full to mud and to dry again, over and over,
places which teeter on the border of geography, archaeology and history,
tree branches which will snap when next ascended,
declarations of love on polished gritstone.
Simon Schama wrote –
“landscape is a work of the mind… Its scenery is built up as much from strata of memory as from layers of rock.”
and,
The field, bordered with barbs, contains the flock, pleasant and polite, ubiquitous gardeners, employed to maintain the green and pleasant land.
Living in that space between remembering and imagining.
Instagram: @will_farmer.wav
Substack: https://willfarmer.substack.com