Wandering around the work of this year’s DJCAD graduates before the award plaques go up is a new and somewhat freeing experience. A dauntless spectator may attempt at a few guesses, but this year the work is so varied in media and approach that it’s even difficult to label it under course names; deep reverberating sounds and extensive processes radiate from the Art Philosophy and Contemporary Practice students whilst the Fine Art students’ work oozes complex ideologies. The Time Based Art & Digital Film work is sprinkled throughout the building, granting this year’s Degree Show a cohesive feel that fits well with showcasing such a close knit, collaborative year.

Helen King

In one of the Crawford building’s bright, open rooms, Helen King’s (APCP) immaculate blueprints peek out from behind the massive concrete slab that both greets and blocks you upon entering. Coming to notice how precariously the piece balances causes a tinge of doubt towards the supposedly stable walls around you. Combat this doubt against the blueprints, and they begin to act as a warrant for the Brutal Modernist architecture tropes; old-school, time consuming processes take precedence over new technologies and a long spent thought becomes the documentation and justification of one side of a polarized opinion. The concrete proves itself, standing tall in the foreground.

Sandra Schneider

Juxtapose King’s solid concrete slab with Sandra Schneider’s (Fine Art) evocative study on language; Schneider’s clicking tongue and slow, purposeful poetry fill the room as much as any matter, concrete or human. The vibe is more like a 70s living room and feels like a living, tactile set of a Svankmajer film. Tongues burgeon from the unassuming, floral wallpaper like moulding mushrooms and, although the soft light from the lamp and dark wood may make you feel at home, illusions of puddles and wet patches deter you from taking a seat. The subtly dominating sound of a trickling leak (or ‘bubbly saliva’) give the feel that this room, a metaphor for language itself, is weakened and weakening and the voice plays the part of the foundations and the leak causing all the destruction.

Veera Krouglov

Fulfilling Dundee’s recent appetite for graphic, psychedelic murals, Veera Krouglov’s fun-filled room contains all the characters you would want to meet on a dark night. The life-size doodles and miniature ceramic creatures invoke a childishly mature personality, as though Krouglov has managed to embody the exact behind-the-scenes sensibility of concealed adult humour in a kids TV show.

Sean Forsyth and Ewan T Gibson

Hazel Holloway deploys the term ‘physical empathy’, exploring her bodily self-awareness in restricted material work, and Eve Kerr’s filmed performance ‘Clay Kavala Graha’  displays a metaphoric extraction of artistic intuition through pure material. Shifting from materiality to the screen, ‘Elsewhere’, a beautiful short film by Sean Forsyth (Fine Art) and Ewan T Gibson (TBA), brings forth a celebration of the landscape on our doorstep through the ingenuity of unexpected interaction between a Fox and a Crow. The strong array of films this year is not to be missed on the big screen, showcasing on Wednesday the 25th of May at the DCA.

Kieran Milne and Thomas Stephenson

As far as guessing games go, the RSA Awards are a tough one to call. One room stands out as a tough competitor, housing the work of Kieran Milne and Thomas Stephenson (both Fine Art). On Milne’s side of the room, light streams in from the big old windows into a space as sleek and calm as an office in the Netherlands. Serene tones of Riso green prevail throughout the publications, houseplants and wall pieces, and exit signs act as an invitation for escape through the black kissing gate in the foreground. In Thomas Stephenson’s work, the name ‘wood burning stove’ manifests literally, at first glance beautifully and traditionally constructed, yet a strong satirical warning emanates from within; an uncompromising illustration of the destructive passivity we undertake in the daily living of our lives.

One thing that shines throughout this years’ Degree Show is an unwavering awareness of the artists’ surroundings, into which each work proclaims a corner of it’s own. An undoubtedly outstanding show from the graduates, Duncan of Jordanstone School of Art and Design will keep you roaming for hours. It’s open until the 29th of May and the work’s above are just a small selection from the many, many memorable works on show from the emerging talent that is the class of 2016.

Duncan of Jordanstone College of Art & Design continues until  29 May in Dundee. Find out more information online here.

More: Website | Facebook | Twitter | Instagram

//////

See more Degree Show reviews on Central Station here.

Detail view, “I am the horizon”, (2015) Hugo Canoilas, 2015, Cooper Gallery DJCAD. Photo: Ross Fraser McLean.

Can you tell us a bit about yourself?
I studied art from the 9th grade on. Since the age of 15 I wanted to be an artist. Although my perception of it developed, I have lived this activity intensively since then.

I studied my BA degree for 5 years (3 years painting and two years fine art) in a small town in Portugal called Caldas da Rainha. I believe no one made this school his or her first choice but the last possibility. The result was a hippie, very experimental school that started from 6pm, when we would return home to make dinner for friends, go out and go wild. It was the time to reinvent ourselves and do our own thing. We did a lot of self-organised projects and we worked with little means. The last 2 years of the 5-year course brought in subjects like Political Studies that increased our capacity to think and establish our own ethos.

I was an assistant to a writer and translator of philosophy who had worked as an artist for 20 years. The books he translated shaped my readings from the age of 15. I also worked for the artist Pedro Cabrita Reis who taught me a lot and gave me a greater capacity to work.

Where do you make your work?
I live in Vienna, Austria, where I have a studio that I share with Christoph Meier and Nicola Pecoraro. We have a strong sense of community, and there’s also place for critical sarcasm, since a joke can push the work somewhere else with its critical distance. I could also say that I work everywhere, because I read in the toilet, in bed, on the metro; I work directly in galleries or institutional exhibition spaces and I love to work directly in the streets. It’s hard to disconnect when I’m working and when I’m not. And this is wrong! One should be critical to this neo-liberal way of working. Labour is a key tool to transform the way we live. On the other hand, art is not exactly labour… it’s a job but it’s also a pleasure…

Detail view, Low (2013-15), from the exhibition Someone a long time ago, now., Hugo Canoilas, 2015, Cooper Gallery DJCAD. Photo: Ross Fraser McLean.

Installation view, I Like Your Art Much (2015), Hugo Canoilas from the exhibition Someone a long time ago, now., Hugo Canoilas, 2015, Cooper Gallery DJCAD. Photo: Ross Fraser McLean.

What is your work process/technique?
All and none. I do everything and nothing. I don’t want to be a specialist and I don’t want to be recognised for my skills. Art being understood as a skill is like judging the work of a writer by his calligraphy.

Can you describe what a typical day is like?
Let me say that I’m plural! I am many things… I aim to be in permanent motion. I have this erotic-Dionysian force that is the opposite of the jubilation of the fixed, achieved form or idea. So I don’t repeat many things in my everyday life (i.e. having the same breakfast for years) apart from taking my daughter to school and going back home early in the evening to have dinner with my family.

Installation view, Visitors, (2015), To be read aloud, To be read aloud (2014) and Chevy, (2015), from the exhibition Someone a long time ago, now., Hugo Canoilas, 2015, Cooper Gallery DJCAD. Photo: Ross Fraser McLean.

Performance photo, Jeffrey goes to Dundee, (2015) Performance during the Preview of the exhibition Someone a long time ago, now., Hugo Canoilas, 2015, Cooper Gallery DJCAD. Photo: Ross Fraser McLean.

Where do you find your inspiration?
I don’t know if this word is used in the right way. Usually “inspiration” pushes us back to the cliché in art and I’m not into this. Taking the word as it is I inspire as much as I can from the world, from the whole and I try to give it back to that whole that is the people. Since I aim to have what I don’t have, I think and make, in ways that will produce a change of my self; to be another or to try to live many lives in one life; following your question, I’m inspired by the absolute otherness.

What are your future plans?
When my daughter goes to University I would love to move to the countryside and build a house and have my garden with my wife. Maybe we would invite friends or open it to all, like a small non “ecophagic” way of living with the contradiction of going somewhere else to exhibit from time to time. I could dedicate my time to working in a barn, behind the house, building a secretive work that could be developed through the years. Plough in my stomach, work without serving anyone else’s project or agenda (artistic or political), that is the only way you can respect the whole. The whole should be a space of convergence of all differences, even the non-negotiable ones.

Detail view, I Like Your Art Much (2015), from Francisco Sousa Lobo to Hugo Canoilas, for the exhibition Someone a long time ago, now., Hugo Canoilas, 2015, Cooper Gallery DJCAD.

Hugo Canoilas with painting in bed, 2015, Los Angeles. Courtesy of the artist and Workplace Gallery, UK.

Someone a long time ago, now. is on display at Cooper Gallery, DJCAD until 10 April.

All photos courtesy of Hugo Canoilas, Cooper Gallery DJCAD and Workplace Gallery, UK unless otherwise stated.

More: Website | Twitter

//////

Want to read more Q&As with creatives? Find them here.

Ellis O’Connor is a visual artist specialising in printmaking, photography and drawing. She is currently based in Dundee completing her MFA at Duncan of Jordanstone College of Art and Design. Since graduating from her undergrad in 2014 at DJCAD she has exhibited extensively whilst travelling to make new work and has been selected for a number of artist in residency programmes.

Traces, A series of prints

Since graduating with a BA Hons Degree in Fine Art from Duncan of Jordanstone in June this year, I have been involved in many projects including two artist residencies. As my work is based on the idea of ‘place’ and our connection to remote landscapes, I am constantly travelling to capture new remote lands. Straight after graduating I travelled around the islands of Scotland for three weeks. This was a way of getting as much inspiration as possible and making new work on site. It also refreshed my mind as I was able to take some time away from the studio.

Close-up detail: Elements of the Shore

Ellis O’Connor – Edges

In July, I was chosen to be artist in residence on board an expedition around the Northern Isles of Scotland with the Clipperton Project. We travelled around the Isles of Shetland on a boat for four weeks and I collaborated with other artists whilst teaching artist workshops to communities on remote islands. I then travelled out to Florence for the months of August and September as I was selected amongst nine other Scotland based artists to receive the RSA John Kinross Scholarship. This was an incredible opportunity and really gave me the support to make new work whilst being inspired from a new setting.

Since the amazing residency and scholarship, I have returned to university to undertake my MA in Art and Humanities at Duncan of Jordanstone. I feel that it is completely different from being an undergrad, as it is more focused on your practice and working as an artist on your own. I wanted to undertake this course to develop more of the written part of my work and give me a chance to delve more into the ideas within my practice. Since returning to education, I have also just come back from Iceland where I was artist in residence at the Fljotstunga Eco farm in collaboration with Geo Park Iceland. I have taken part in two exhibitions: The Black Cube Collective’s Annual show in Edinburgh and ‘Waypoints’, an exhibition in collaboration with the Clipperton Project on the Isle of Eigg.

Series of Prints Framed

I am currently making new work based on my time spent around the remote islands of Scotland and working to large scale size for the RSA New Contemporaries 2015. I have also been selected to take part in artist residence programmes next year in The Bothy Project Sweeney’s Bothy Scotland, Cill Rialaig Ireland, and Norway’s Agder Art Centre. I intend to keep making work based on the atmosphere of remote places whilst documenting my travels out there to put across to the viewer. The only way I can keep making work is by travelling and so being selected for the opportunity to make work in organisations around the world is perfect for me!

Tidal Flow

My advice to graduates would be to apply for things and just go for it. There are funding and scholarships out there if you look for them. Central Station and Creative Scotland are particularly great. If you are truly confident in your practice and what your ideas and purpose of your work are as an artist, you will be fine. Don’t be scared of knock backs. The worst thing someone can tell you is no. You’re not going to lose out on anything by simply applying. I have purposely applied to awards and residencies that are going to better me as an artist and that I will gain something from, so just keep going and believe in your work!

Comment below or on Twitter using #LifeAfterArtSchool & mentioning @CenSta with your experience after art school.

Stay tuned for more updates from art school graduates all this week. In the meantime see a preview of what to expect from the Life After Art School features here.

More: Website | Twitter | Facebook

//////

Looking for more blogs? Visit here.

Ryan Esson is a filmmaker and recent Duncan of Jordanstone graduate with a degree in Time Based Art and Digital Film.

Having graduated art school less than 6 months ago, life as an art graduate has not been the most glamorous experience so far. A full year is spent working tirelessly on one project which the previous 3 years of your life have been leading up to. It all ends with a big exhibition and you’re given your final grade for your 4 years of work.

I feel that I needed to take a little bit of time away from studying and even art. So I have moved to Glasgow and taken the first job I could find to support myself. Glasgow is a very raw and creative city with many opportunities, so I feel that it could be the perfect environment for an art graduate.

My final year work “The Void” is still my main artistic focus as I am going to be showing it again at The Royal Art Gallery in Edinburgh on the 5 December, having won The Society of Scottish Artists award. This is a great opportunity and gives me an even larger audience to show my work to. I have also been working on some of the principles and ideas behind The Void and trying to look into them further and create a better experience than before. I have been trying to explore old ideas, but with a new outlook or spin. I have had some time to step back from it all and pick out the points I feel work well and I think that this has been helpful.

In my opinion, the hardest part about having left university would be trying to stay motivated whilst holding down a full time job. Setting yourself goals and searching for opportunities is key to pushing yourself to create. I am thankful for the response that my work has received and this has really driven me again to be more creative with my work.

The Void – Ryan Esson

Comment below or on Twitter using #LifeAfterArtSchool & mentioning @CenSta with your experience after art school.

Stay tuned for updates from art school graduates all this week. In the meantime see a preview of what to expect from the Life After Art School features here.

More: Website | Twitter | Vimeo

//////

Looking for more blogs? Visit here.

Samantha Wilson specialises in large scale drawing and painting and is currently based in Dundee completing her MFA at Duncan of Jordanstone College of Art and Design. She received a first Class Honours degree from Duncan of Jordanstone and studied for one semester in Toronto at the Ontario College of Art. She was brought up in Elie, Fife and spent six years of her childhood in Portugal before returning to Scotland for University. Here she talks about her experience of graduate life…

Since graduating from Duncan of Jordanstone College of Art and Design in June, I have spent some time in the summer working and travelling to take a break from making art. This was mainly because I intended to return to university in September to begin a Masters in Art and Humanities at DJCAD, where I am currently studying.

Untitled (2014) Charcoal and Ink on paper 93 inches by 121 inches

Before returning to study, I exhibited with the Six Foot Gallery in Glasgow in July. The show itself was quiet, but overall it was a worthwhile experience because subsequently I was contacted by a publication called BleakZine (also based in Glasgow) who are interested in featuring some of my work in an upcoming issue. I mention this to consider that no matter how small an opportunity may seem, you never know what could come of it, so apply, apply, apply!

Dressing Up (2014) Charcoal and Ink on paper 44 inches by 80 inches

The time away from making has allowed me to really channel all of my energy back in to full time study where I am now developing a new body of work for the RSA New Contemporaries Exhibition in Edinburgh in March 2015. It’s fantastic to have somewhere to make work straight after graduating because the ideas and processes are still fresh in my mind after the degree show.

Dog Man (2013) Charcoal and Ink on paper 44 by 80 inches

Mermaid (detail) (2014) Charcoal and Ink on paper 44 by 81 inches

Since leaving my undergraduate study, I am feeling, even more so than during my fourth year at art school, the pressure of reality after school. Although I am studying again, it is a different experience to my undergraduate course in terms of feeling much more on your own. Art work is no longer something you feel you are obliged to finish because you want your degree certificate, but it is one step closer to being your ‘job’. It’s really ‘for you’ and not the grade. That brings a whole new perspective and emotional challenges to face every morning when you come into the studio. It can be very daunting but as long as you still enjoy the work, it’s worth it! I don’t know what else I’d be doing if I wasn’t battling away drawing and painting in the studio. In between studio work and studying, I am applying for artist residencies, publications and exhibitions.

For more about Samantha’s work, see Koren Dumbleton’s review of the DJCAD Degree Show here.

Untitled (2014) Oil on Canvas 240 inches by 60 inches

Comment below or on Twitter using #LifeAfterArtSchool & mentioning @CenSta with your experience after art school.

Stay tuned for updates from art school graduates all this week. In the meantime see a preview of what to expect from the Life After Art School features here.

More: Website | Facebook

//////

Looking for more blogs? Visit here.

We’ll hear from GSA alumna and fashion designer Kelly Dawn Riot, who recently won the Scotland Re:Designed New Talent Award along with sculptural knit designer Laura Muir, whose cosy snoods have begun to take the internet by storm. GSA Communication Design graduate Steven Swinney talks about taking on the Commonwealth Games alongside his freelance work while fellow ComDes alumnus Cliff Andrade revels in the recent win of the Jill Todd Photographic Prize Award.

Ryan Esson – Air and Space

Duncan of Jordanstone College of Art and Design graduate Samantha Wilson’s drawings and paintings were put on our radar at the DJCAD degree show. In her take on professional life, Wilson talks about seizing opportunity while fellow DJCAD alumnus Ryan Esson considers the less glamorous side of post-art school life and emphasises the value of staying motivated. Also from DJCAD, Ellis O’Connor discusses the difference between her undergrad and her current postgrad degree, as well as the importance of artist residencies for the development of her work.

Bryony Strange

Edinburgh College of Art graduate and fashion designer Bryony Strange writes about the importance of networking and mentoring in the Scottish creative industry. As she details her transition to professional life, fellow ECA alumnus and illustrator Alexander Jackson talks about taking on the editorial realm. Also from ECA, digital artist Richard Phillips-Kerr (who will be showing his degree show piece at RSA New Contemporaries 2015) explains what he’s now doing in Birmingham.

Finally from Gray’s School of Art, award-winning painter and model-maker Catherine Ross and multimedia artist Dominic McIvor reveal their most recent exploits in Aberdeen and Birmingham respectively.

Stay tuned for updates from these art school graduates all next week.

//////

Looking for more blogs? Visit here.

Mutator 2 (Triptych), William Latham, Centrespace, VRC, 2014
Photo: Kathryn Rattray

I work between Goldsmiths College Computing Department, where I’ve been Professor of Computer Art since 2007, and my studio at my home in Hove.

Originally I trained as an artist at The Ruskin School of Drawing (Oxford University) and at the Royal College of Art, before moving into the computing industry and becoming a Research Fellow at The IBM UK Scientific Centre in Winchester in 1987. Between 1994 and 2003, I founded and led the leading games developer Computer Artworks Ltd who produced games such as The THING (Playstation2, Xbox and PC) for Universal Studios, which became a Number 1 hit in the UK and Germany.

Now, I am working with long-term collaborator, mathematician Stephen Todd again. During the past five years we have re-engineered and extended our original FormGrow and Mutator Code from the 80s and 90s to work on the newest platforms in installation pieces, videos and photographic works. These new works stem from my experiences working in Bioinformatics, Neuroscience and Games development.

While I studied at RCA I began to devise an evolutionary rule-based drawing system that would generate organic rather than geometric forms. I called the system FormSynth (short for Form Synthesis). This system uses transforms such as “Bulge”, “Beak”, “Stretch” and “Scoop,” which define how to distort or sculpt 3D forms starting from geometric primitives to evolve increasingly complex forms with each transform step recorded and laid out in large evolutionary tree drawings. Some of these early works are currently in the exhibition Mutator 2 in Centrespace, VRC.

Mutator 1 + 2 : Evolutionary Art exhibition by William Latham at iMAL – Center for Digital Cultures and Technology, 2013

It was at IBM that I started working with Stephen Todd and Peter Quarendon, who importantly had developed an excellent CSG Computer Solid Geometry Modelling System called WINSOM that handled the core 3D Rendering texturing and lighting necessary for early development of the Mutator Code. Starting with the original FormSynth rules from the RCA, we gradually started to adapt the rules to produce “Horn-like forms”, resembling twisted strange animal horns. As time went on, we extended the programming grammar, which we called FormGrow, to include new transforms such as “Bend”, “Twist”, “Stack”, “Branch”, “Ribcage” and “Web” and as this grammar grew more complex and rich the 3D forms generated became more and more natural looking.

This work became the early predecessor to Mutator2 Software which works with auto-aesthetic selection, meaning the viewer has the power to interact with the forms and determine visual outcomes based upon the wide ranging possibilities of the code.

William Latham: Mutator 2, Centrespace, VRC, 2014
Photo: Kathryn Rattray

I take inspiration from the natural world (including fungi, sea urchins, jelly fish, viruses, octopuses), sci-fi movies, paisley patterns, William Morris, heavy metal imagery, D’Arcy Thompson, and Surrealist Art (Dali, Magritte, Tanguy).

Initially my work at RCA was heavily influenced by Russian Constructivism, Pop Art and Process Art and by contact with artists such as Kenneth Martin, Mary Kelly and Eduardo Paolozzi, who became a mentor for many years. I still find these areas of interest relevant today.

Oriental Etching FormSynth, print, William Latham, 1985

Mutator 2 (Triptych), William Latham, Centrespace, VRC, 2014
Photo: Kathryn Rattray

My current Mutator 1 + 2 show will continue to tour the UK next year. To date, the exhibition has been exhibited in Phoenix Brighton, as part of Brighton Digital Arts Festival, and in iMAL Center For Digital Cultures in Brussels. Mutator 2 at Centrespace, Visual Research Centre in Dundee continues until 31 January 2015 and shows a subset of works from the larger touring show.

Next year I’ll be visiting Korea to explore venues for future exhibitions of my work.

It is great to be exhibiting my art regularly again, which I stopped doing whilst working in the games and music industries for about twelve years when I “disappeared off the radar”. Showing my work again also coincides with a wider public appreciation of digital art which up to this time arguably has had a hostile reception from the mainstream gallery/auction house world even though photography and video art have long been accepted as an art form, with computer art being labelled a craft at best. There would appear also to be a strong resurgence of interest in my work going back to the mid eighties including my drawings, which is pleasing.

Mutator 2 (Triptych), William Latham, Centrespace, VRC, 2014
Photo: Kathryn Rattray

I’ve recently launched a new website which catalogues my practice and work. The website was curated by The Phoenix Gallery Brighton, funded and supported by The Arts Council of England, and coincided with my solo show Mutator 1 + 2 at the Phoenix Gallery.

I co-curated Creative Machine, an exhibition at Goldsmiths in November, which was my first time acting as a curator. The vision for the Creative Machine exhibition was to show exciting works by artists who use original software and advanced technology in the creation of their work, often blurring the roles of the artist and machine in the creative process. It features international artists such as Naoko Tosa and Yoichiro Kawaguchi (Japan) Jon McCormack (Australia), Cécile Babiole (France) Félix Luque Sanchez (Belgium), Quayola (Italy) alongside leading artists from Goldsmiths and 2014 Lumen Prize gold and bronze award winners, Andy Lomas and Patrick Tresset and Memo Akten. (See it here)

My research projects include the BioBlox Protein Docking game with Imperial College Bioinformatics Dep, and I am co-Director of the company SoftV Ltd which is working with the UCl Neuroscience Department.

This video was originally posted on Art in Scotland TV, which is a contemporary arts-news site run by the Summerhall TV team.

Read more about Mutator 2 at Centrespace in this featured event.

More: Website

//////

Artist profiles delve into the psyche of the artist talking about daily life, inspiration & art. Read more profiles here. 

Interested in writing one? Contact us

Running until 13 December Anna Oppermann: Cotoneaster horizontalis is an exhibition at DJCAD’s Cooper Gallery. The show is built around the display of 1982 ensemble Cotoneaster horizontalis (Anticommunication Design) and features early drawings, prints, collages and other archival material.

Focused on the personal and the political, the exhibition showcases Oppermann’s practice and its development around her sculptural situations or ‘ensembles’.

Detail photograph of Anna Oppermann, Cotoneaster horizontalis (Anticommunication Design), 1982–1984. Cooper Gallery, 2014.

Detail photograph of Anna Oppermann, Cotoneaster horizontalis (Anticommunication Design), 1982–1984. Cooper Gallery, 2014.

Drawing on Oppermann’s work, there will be a forum entitled ‘The Process of Content: on the temporality in Conceptual Art’ on 29 November which will feature Lynda Morris and Guy Brett, Head of Sculpture Studies at Henry Moore Institute Lisa Le Feuvre and Professor Martin Warnke and Carmen Wedemeyer from Leuphana University Lüneburg in Germany.

Installation View of Anna Oppermann: Cotoneaster horizontalis in Cooper Gallery, 2014.

Installation View of Anna Oppermann: Cotoneaster horizontalis in Cooper Gallery, 2014.

For more details of the exhibition which runs until 13 December see the DJCAD Cooper Gallery website.

Photos by Kathryn Rattray

More: Website| Facebook | Twitter

//////

Find more events in our weekly bulletin here.

William Latham: Mutator 2 is an exhibition at Centrespace, Visual Research Centre at DJCAD running from 1 November – 31 January. With a preview on 31 October and an artist’s talk on 13 November, there’s no better way to engage with this pioneering figure of UK computer art in his first solo Scottish exhibition.

Originally an artist, Latham trained at the Ruskin School of Drawing and Royal College of Art. After moving into computers and working as a Research Fellow at IBM, he founded highly-successful games development company Computer Artworks Ltd. Most recently he serves as Professor of Computer Art at Goldsmiths.

At the exhibition, see interactive video projection Mutator 2 Triptych. Spanning three screens, the installation blends the organic and the electronic. Engage with the work further by exploring drawings and prints made by Latham during the creative process.

Images: William Latham, 1985-2014, courtesy of DJCAD

Mutator 2 runs at DJCAD as part of the Dundee Science Festival from 1 November to 31 January. For more details see the DJCAD website here.

More: Website | Facebook | Twitter

//////

Find more events in our weekly bulletin here.

The Time Based Art & Digital Film course can seem a little ‘out there’ for the first time degree show attendee, but a true highlight. It is a visual smorgasbord of goings-on. Step into ‘The Void’ of Ryan Esson – an unnerving mirrored infinity. You can’t be sure whether you’re in heaven, or in hell. Laura Corrigan presents SHUAIR – bottled and branded designer air– something seemingly impossible, yet the familiar glitzy campaign photos are disturbingly close to home.

Ryan Esson

The aforementioned Kickstarter film comes in the form of Corpach – a mystery thriller, with the teasing Prelude on show. This is a joint project between Jeppe Rohde Nielsen and Alan McIlrath. In 1975, a young girl goes missing from her small community in Corpach, the Highlands, after what seems to be a paranormal earthquake, the aftermath is devastating. What we’re given is already highly engaging, and we can only eagerly anticipate the feature length film to follow. The future bodes well for both the final film and the success of its creators.

Jeppe Rohde Nielsen

From Fine Art and Art, Philosophy, Contemporary Practices there is such a plethora of work you’ll be hooked for hours.

Molly McEwan’s blinking eye is daunting and uneasy. Her array of ceramic characters filling nooks and crannies are toy-sized and interacting like a giant game of chess. While you are drawn into their world, the eye watches over you, and it’s not clear if it’s protective or intrusive.

Molly McEwan

Lucas Battich has a simultaneous video and projection piece showing you every colour from the digital spectrum and plays over a 24-hour period. Another screen shows the generation of endless digitised colour variations of Josef Albers’ Homage to the Square. One after the other a new image is created, exploring how Albers’ investigations on colour theory could be continued in a contemporary format. We are left to question the reality of the art imagery we consume in today’s techno-centric culture.

Lucas Battich

Samantha Wilson demonstrates that drawing and painting are still an incredibly powerful medium. Her larger than life characters can be seen in a dizzyingly packed crowd, or in solitary, but each one is compelling. “It is the eyes that get you”, a fellow enthusiast remarks, and they really do.

Samantha Wilson

In the same room Jenni Bangs’ theatre-inspired ceramics are comforting and nostalgic. Having a background in performing arts herself, tokens of the stage can be deciphered from intimate objects that suggest the physical exertion on the performer’s body: while the artist relies on their hands, the performer must rely on their feet.

For the intrepid spectator, what is always intriguing is the selection of RSA award winners for next year. Lucas Battich, Samantha Wilson and the Corpach collaborative team of Jeppe Rohde Nielsen and Alan McIlrath are just some of the chosen few. After the huge successes that came to DJCAD graduates this year at the acclaimed New Contemporaries (the representing artists’ scooped up 7 prizes in total between them – the most of any Scottish art school), it’s been asked consistently if this year can match it. Yet, for the college and its students’, things have gone from strength to strength. The graduate show is outstanding, and these young artists have more than enough talent to not only defend and but champion DJCAD’s continuing triumphs.

The DJCAD degree show runs until 25 May. Further details can be found on the DJCAD Degree Show website. Check out our featured event about the show.

Images courtesy of DJCAD.

More: Website | Facebook | Twitter | YouTube

For more events, see our Weekly Bulletin here.