It’s that time of year again, summer has sprung and the art & design students of Glasgow have collated the sum of 4 years experience into one eclectic whirlwind of a show. The Glasgow School of Art Degree Show began on 13 June and continues until 20 June, featuring work from graduating students across the schools of Design, Fine Art and Architecture.

Due to the fire which devastated the Mackintosh building this time last year the Fine Art show is taking place in the Tontine Building in the Merchant City while the Design show is running in the newly built Reid Building in Garnethill. Despite the physical distance separating the two shows, the work exhibited across the two venues maintains the strongly unique spirit that ties The Glasgow School of Art students together.

Entering the Tontine Building I was excited to see how the Fine Art students had adapted to their new space and curious to find out how it affected the work they produced. The first piece that caught my eye was Jess Kelly’s beautiful installation ‘Translucent.’ The work effectively acts as a walk-in kaleidoscope with seamlessly moving images projected behind a screen within the structure. The viewer becomes immersed within the installation and becomes part of the artwork itself.

Jess Kelly, Translucent

From sculpture I moved through to the painting rooms, this is where I found Anna Thomson’s work. Her large-scale paintings display serious skill with a deep understanding of texture and subtlety of palette, a perfect combination of bold and understated.

Anna Thomson

Anna Thomson

After leaving the bright white of the painting room, I ventured into the darkness of a windowless alcove where I bunkered down on a huge beanbag, intrigued by a voice that echoed around the small room. When the visuals began, I knew this was a piece worth getting comfortable for.

Jack Boutwood

The short film by Jack Boutwood explores collective memory through an intimate and engaging series of pondering thoughts and observations on modern existence. This skilfully written narrative is refreshing in its honesty and simplicity, nostalgically reminding the viewer of the beauty in the common everyday.

It was time to move on, although I could have stayed much longer revelling in the wonders of the fine art studios, I knew there was so much more to see. Entering the Reid building you cannot help but be overwhelmed by the sheer scale of the place; it is without doubt a fantastic building to exhibit within. As I enter the Communication Design Department I was struck by the vast array of varying styles of work, ranging from fine art style large-scale installations to cutting edge graphic design.

Romany Rowell, Time Through Colour

It was the work of Romany Rowell that first caught my attention, in this thought-provoking and frankly very clever piece of work, Romany investigates the way in which time is measured – in numbers – alters our perception of time. The aim of this project is to challenge the viewer’s perception of time by use of colour, light and movement.

Hannah Jane Nixon

At the other end of the Communication Design spectrum is the highly appealing and humorous work of Hannah Jane Nixon, her brightly coloured screen prints display a bravery and uniqueness all of her own. Obviously inspired by popular culture, Hannah has also made a comic book based on the childhood of tennis superstar Roger Federer.

Another Illustration graduate who stood out for me was Sam Russell Walker.

Sam Russell Walker, Bygone Magic Stone

‘Bygone Magic Stone’ is a double sided poster book born out of the idea that each generation looks to their predecessors for inspiration, imparting their own interpretations, creating a kind of Chinese whispers through time.

Calum Douglas, Only the dead have seen the end of war

From the Photography department of Communication Design I spy the work of Calum Douglas. Calum produced a series of powerful images as a response to the unseen and misunderstood aspects of war. The series shows a body of simplified and re-appropriated images that represent key events throughout the Middle Eastern conflict over the past three decades. The way in which the images are presented invites the viewer to question what they see.

Leaving the Communication Design department my head is spinning with all that I have witnessed but I am eager to see more as I venture into the fashion and textiles exhibit space. In this room I feel like a kid in a candy shop, the colours and textures of the work screaming out to be held, stroked and worn. Hardly knowing were to begin I am drawn, as if by a tractor beam to the explosion of pattern on display by fashion designer Luis Miguel Sanchez Garzas; nothing about this work is mundane, everything about it makes me happy.

Luis Miguel Sanchez Garzas

Luis Miguel Sanchez Garzas

There is a passion for abstract forms and playful use of scale alongside a surreal use of found objects, all of which speaks of a great humour that warmly invites the viewer to rethink both traditional forms and functionality within fashion.

I was also very impressed by the work of Elinor McCue, who, like myself is a great fan of fringes. Elinor uses a mixture of hand cut leather, laser cut mdf and acrylic to create her wonderful fringed panels.

Elinor McCue

All in all this year’s Glasgow School of Art Degree Show has been a great success with too much quality work to go through in one review, I have not even mentioned the work of Product Design or Architecture but I strongly advise taking a look at the intriguing designs of Cheng Zhai Wei and the exciting concept piece ‘Tent in the Tenement’ by Michael MacFarlane.

If you want to see more, the show will be running until 20 June from 10am-5pm daily. Information on artist and designers who are participating in the show can be found here.

See Emma’s work online here.

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Joanne Dawson is a final year student of the BA(hons) Painting and Printmaking course at The Glasgow School of Art, graduating from the School of Fine Art a year after the fire of the Mackintosh Building. She is currently working up to the 2015 Degree Show using a variety of video, sculpture, screen-print and installation. She tells us more about what this year’s graduating Painting & Printmaking students have planned.

47 graduates from the Glasgow School of Art Painting and Printmaking course will exhibit their work in London at the Old Truman Brewery on Brick Lane on the 2 – 6 July, as part of The Free Range Show. With the destruction of the Mackintosh Building, we lost a valuable platform for showcasing the culmination of four years hard work. We were in third year during the fire, so our work was not personally damaged, but we worked very closely with graduate students during that time, and we know how much it affected them along with the following repercussion that impacted ourselves in our final year. ALL YOU CAN EAT is the perfect opportunity for us to take our work beyond Glasgow and to exhibit to a wide new audience in a location central to London’s art scene.

Image of Rosie Swan by Ewan McCaffrey

Image of Nathan Cook by Ewan McCaffrey

ALL YOU CAN EAT is more than a painting show. We are an eclectic group and we will be running community workshops, performances, poetry readings and other events throughout the week in London. There is very little restriction on what will come out of the show, however we want to project how strong we have all been as a year together. We initiated this project entirely off our own back, and have been fundraising ourselves over the past year. With huge support and with much gratitude, our Kickstarter raised £3000 in just over a week (here is a link with a video by Gary Zhang). £3,000 is only half of the full cost. If we do not reach our target the show must and will go on. The cogs for potential resolutions to a lack of funding are already in motion. We are trying to supplement our funding through other avenues, writing proposals to different arts charities, throwing club nights, events, and bake sales.

After the funding is fully realised our largest challenge will be safely delivering, curating and installing the best possible show. The event, in the Old Truman Brewery in London, takes place between 2 – 6 July, a fortnight after the official Fine Art degree show in Glasgow will be held in Tontine House, off Trongate Cross in Merchant City from 13 – 20 June. The building surrounds a public art project of Douglas Gordon – his EMPIRE sign.

Image of Jude Hagan by Ewan McCaffrey

Image of Lewis Prosser by Ewan McCaffrey

Image of Jessie Whiteley by Ewan McCaffrey

You can follow our Instagram account here @gsa_painting with regular updates throughout our degree show and lead up to ALL YOU CAN EAT Graduate show. Preview students’ work on The Free Range Portfolio site here. Information will also be posted on The Glasgow School of Art’s website about our upcoming Fine Art Degree Show in the new Tontine Building.

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See work from the Digital Design Studio and International Heritage Visualisation programme and be transported to various different worlds from the inside of present-day Barlinnie Prison (Eddie Beggan) to the Finnieston Crane and Queen’s Docks of Glasgow in the 1930s (Nichola McCabe) and beyond to the Scottish Parliament House in the late 17^th Century (Annette Whitelaw).

Annette Whitelaw

Medical innovation meets digital technology in mobile and education applications which facilitate learning created by Medical Visualisation graduates. Their work explores such diverse themes as jaw surgery (Yeshwanth Pulijala) and asthma (Kirsty Jordan).

Charlotte Craig

Moths (Charlotte Craig), Greek Philosophy (Mi Lin) and creation through destruction (Atsuko Nakano) take centre stage in the illustration, graphics and photography students’ works on show in the Reid Gallery.

Graduate Mi Lin explores the idea of breath as a life force

MLitt Fine Art graduate Teresa Malaney focuses on loss in this the life-size latex representation of the doors to the Mackintosh Building

In the MLitt in Fine Art, see work from painting, printmaking, sculpture and fine art photography graduates over three different spaces in the McLellan Galleries focusing on a wide variety of themes.

Sculptural work by MLitt Fine Art graduate Jasper Coppes

MLitt Fine Art graduate Edwina Bracken combines oil paintings with gallery benches

The GSA Graduate Degree show runs in the Reid Building and McLellan Galleries until 12 September. For more information see the GSA website.

MDes Fashion Promenades are at 7 & 8pm on Friday 12 September.

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Kim from Central Station gives an overview of a selection of works on show:

Entering the newly opened Reid building with a camera in hand and a notepad, Lesley Booth (GSA Press Officer) greets me and outlines where each programme is located. I head to the press launch where I get chatting to two journalists who seem mightily impressed that I’m here for the show; they reveal they’re actually here to try and interview a couple students on how the fire has affected them. I realise I’m in the wrong place and head downstairs to see the graduates’ work. On the upside, the Design students have the honour of being the very first to exhibit in Steven Holl’s specially designed building.

‘Speak & Speak Immediately’ by Lyndsey Smith

‘Saudade’ by Cliff Andrade

Aptly, I come across Lyndsey Smith’s photographs of journalists and can’t help but smile at the natural order of things. Cliff Andrade is another photographer who catches my eye with his photos of the island of Madeira, he explains his journey exploring heritage.

The typography is especially strong this year. Nicholas Davis presents ‘Life of a Letterform’ which challenges the perception of form in a refreshing way. Additionally, Zheng Li’s 3D letters and screen prints grabbed my attention with the letters themselves appearing to be in motion.

‘Life of a Letterform’ by Nicholas Davis

’3D Letters Photography’ by Zheng Li

Using the first perfect number as her starting point, Alice Rooney uses #6 to create systems dispersed across 6 sheets of acetate. Sean Mulvenna also uses systems, albeit in a very different way. Inspired by the Augurs of Ancient Rome (religious figures who interpret the will of the Gods by studying bird flight), Mulvenna has cleverly introduced a method of divining narratives.

‘Perfect Circle’ by Alice Rooney

‘Augur’ by Sean Mulvenna

Female empowerment and gender inequality is explored in both Franc González and Rachel-Jane Findlay’s works. González has scanned the female figure in 3D and returned it back into the physical world as an unrefined 3D print. Findlay’s study of female action heroes screen printed as movie posters reinforces the strength of the woman’s role.

‘Untreated Bodies’ by Franc González

‘The Development of the female action hero: Sarah Connor’ by Rachel-Jane Findlay

The Visual Communication department seems to be such a tight knit, organised bunch. They keep a regular blog, hold events and even have their very own Twitter page. Perhaps the lack of physical barriers (they work in an open plan studio) is a real advantage in growing together as a collective.

Catriona Clark

Nicole McCarron

Of the jewellers, I was particularly drawn to Catriona Clark and Nicole McCarron’s angular pieces and Kara MacAulay’s red seaweed-like necklace which hangs beautifully near Jordane Symington’s contrasting materials.

Kara MacAulay

Jordane Symington

The Fashion and Textiles work is not to be missed, in particular Michelle Ho’s futuristic prints and Catherine MacGruer’s geometric designs. As well as Laura Muir who makes kitting look cooler than ever with her ‘Knit, Knot, Knit’ merino wool creations.

Michelle Ho

Catherine MacGruer

Laura Muir

Each Fine Art graduate has a digital print hung anonymously in the McLellan Galleries. I ask Lesley for a floor plan, however none seems available at present and I sincerely hope the artists gain recognition for the public opening. Interestingly, in most cases, it is still possible to distinguish the painters from the sculptors, photographers and environmental artists. Below are a selection of prints I enjoyed.

Unfortunately, the Product and Interior Designers were still installing their work at the time of my visit, though I’ve since been told there’s much to see!

You can download a short guide to the show online here. A 214 page limited edition book of prints featuring each student print is available in The Glasgow School of Art Shop.

An open studio event for the Digital Culture programme takes place this Thursday 19 June from 10.00 – 16.00. Degree Show 2014 is open to the public until 21 June.

Words and photos by Kim Stewart.

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Please visit here for more Degree Show reviews on Central Station.

Design and Architecture Degree Shows will be held in the newly opened Reid Building where the public will be allowed access for the first time since its opening. These shows will feature work from jewellery & silversmithing, textiles and fashion, communication design, product design, product design engineering and interior design. The MFA Degree Show will run at the Glue Factory from 12 – 22 June.

Due to recent tragic events at the Mackintosh building, Fine Art students will postpone their degree show. They will be represented in a specially-curated group exhibition at the McLellan Galleries featuring digital prints. A book will be available for purchase, featuring the prints and other works by GSA graduates.

The GSA Degree Show will run 14 – 21 June.

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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.

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Duncan of Jordanstone College of Art and Design (DJCAD) will showcase work from some of the country’s best young creatives later this month when the annual Degree Show season gets underway.

The DJCAD Degree Show is the first of the flagship exhibitions held by Scotland’s four main art and design colleges each year. The traditional Preview Evening for the students, their families and invited guests takes place on 16 May, with the city’s largest annual exhibition of art and design, featuring the work of some 245 final-year students, opening to the public the next day and remaining open until 25 May.

Students from all 11 undergraduate programmes will exhibit their works across the two buildings and fourteen floors that comprise DJCAD. The show attracts thousands of visitors each year and is seen as a springboard for some of Scotland’s most exciting emerging artists.

DJCAD has a reputation as one of the leading art schools in the UK and many of its students go on to be world-renowned artists. Turner Prize winner Susan Philipsz and nominees David Mach, Louise Wilson and Luke Fowler are all DJCAD alumni. The standard of DJCAD students has been borne out by the number selected for prestigious prizes and exhibitions, such as the New Designers, New Blood, FreeRange and New Contemporaries on the basis of their Degree Show work.

Jeanette Paul, Acting Dean of DJCAD, said, “Over the coming months, thousands of talented artist and designers from across Scotland will be exhibiting the fruits of their training over the past four years and our graduands consistently prove themselves to be among the best in the country.

“This is demonstrated by their strong performance at New Contemporaries last year. This illustrious exhibition at the Royal Scottish Academy brings together the best work from all Degree Shows and the number of awards given to DJCAD graduates shows how skilled and creative the artists we produce are… Degree Show is always a special time for the University community, and indeed the whole city, and I’m sure the thousands of visitors who flock to DJCAD will once again be impressed by what they see.”

The exhibition will be open to the public from 17 – 25 May. Admission is free and the exhibition is open from 10am – 8pm (Monday to Friday) and 10am – 4pm (Saturday & Sunday).

The DJCAD Degree Show is one of the highlights of the city’s cultural calendar, attracting some 10,000 visitors each year and generating in excess of £1 million for the local economy in the process. It is part of the Ignite Dundee festival, which runs from 16 – 31 May and showcases the very best of Dundee’s creative talent.

Further details can be found on the DJCAD Degree Show website.

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Hidden away in a courtyard behind a renovated print works, The Old Ambulance Depot is a unique art space whose mission is to make fresh art visible.

The well-proportioned space is the perfect venue for expression across all mediums from painting to film to installations and performance art.

The Old Ambulance Depot’s boundaries are wide and their willingness to experiment is vast. It’s a playground for art and they love looking at things with fresh eyes. Perhaps it’s something to do with the children’s playground that’s just through the wall.

What’s on:
The Old Ambulance Depot have a year round art program which can be viewed online here.

The next few shows are-
A Place of Alchemy
New work presented by award winning Edinburgh based sculptor Louise Gibson.
Preview 27 July 6-9pm | open thereafter 10 – 5pm from 28 July – 1 August.
Through the Looking Glass, Dimly
As part of Edinburgh Art Festival 2012 we are presenting a photography exhibition by blind photographers Rosita McKenzie (Edinburgh) & Andrew Follows (Melbourne), in conjunction with Contemporary Art Exchange.
Preview 4 August 6-8pm
Open thereafter 5 – 18 August Sat 10 – 5pm Sun 11 – 5

The Old Ambulance Depot is located at 77 Brunswick Street, Edinburgh, EH7 5HS.

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Duncan of Jordanstone College of Art & Design (DJCAD) Degree Show 2012, one of Dundee’s cultural highlights and a celebration of emerging talent, takes place later this month.

Around 10,000 visitors are expected to visit the exhibition of work produced by nearly 300 final-year students from all 11 undergraduate programmes, including Animation; Art, Philosophy, Contemporary Practices; Digital Interaction Design; Fine Art; Graphic Design; Illustration; Interior Environmental Design; Jewellery & Metal Design; Product Design; Textile Design; and Time Based Art & Digital Film.

A series of lectures by some of the leading figures in the world of art and design will mark the beginning of the Degree Show season on Thursday, 17th May. Find information about the talks here.

This year’s Degree Show also forms part of the Ignite 2012 festival, a 10-day celebration of creativity and culture across Dundee, Angus and Fife.

Find out more about the Degree Show here.

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Born in 1953 and grew up in Glasgow. First jobs were working on a government research farm outside Dundee at 14, picking raspberries and strawberries. Then at 15, working on Saturdays at John Smith’s bookshop in St Vincent Street. Then at 18, with hair down to my waist, the only place of employment was Butlins in Ayr, as a bar porter at the Pig and Whistle – earning £7 pounds for an eight day week (we worked for seven days and got the eighth day off). However, the first five jobs that taught me a lot were:

01.After training in Dundee for two years, at Duncan of Jordanstone College of Art (between 1971 and 1973), I was offered a job as a lighthouse keeper off the West Coast of Scotland. In order to do it, I would have to miss the end of year assessments. I had a very friendly drawing lecturer called Ian Fearn. I went to ask his advice. “You’ll always have another opportunity to go to art school,” he told me “but this will probably be your only chance to be a lighthouse keeper”. I followed my heart rather than my head, and it turned out to be a fantastic six months during which I learned all sorts of skills that have been useful in later life. Many years later, I wrote about these experiences for the ‘Diary’ section of The London Review of Books. I then turned that into a book, which was published as Stargazing: memoirs of a young lighthouse keeper (Canongate, 2003). Currently trying to turn it into a film or TV series – just need four great Scottish actors.

Peter Hill (top left) and the class of 71

02. I spent another eight years at different art schools in the south of England, before returning to my home city of Glasgow in 1981. I’d always enjoyed writing and making art when I was at art school. I continued this from a WASPS studio in the Trongate, and witnessed the growth of Transmission Gallery from an idea to a reality through the hard work of a great number of people. I began writing about Scottish art for various magazines and journals outside Scotland, including Artmonthly, Studio International, Design, Artscibe, Aspects, and the Artists Newsletter (now an). I owe a great deal to many fine editors, particularly Peter Townsend at Artmonthly, in terms of editing, proof reading, raising advertising revenue, picture editing, and general networking.

03. After spending a year painting and writing at the wonderful Cité Internationale des Arts in Paris, I was invited to teach painting at Gray’s School of Art in Aberdeen while Ian Howard was on sabbatical. I learned a great deal about teaching, examining, and enthusing students from my colleague Alexander Fraser. I also gave my very first lecture in the art school lecture theatre, juggling two carousels of slides, and overcoming my initial nerves. This, especially, was an important hurdle to jump. Grand to emerge unscathed at the other side.

04. At the Cité in Paris there were hundreds of artists from over seventy countries around the world – painters, film-makers, poets, photographers. I was acutely aware from my time there that not only did most nations have their own governments, but also had their own art magazines. I decided to try and set up a Scottish art magazine, ALBA, and after my happy time in Aberdeen I moved to Edinburgh. This was mainly because I’d lived in Scotland’s three other cities at different times and I wanted to get to know the Edinburgh art scene. Bill Hare and Dr Duncan MacMillan at the Talbot Rice Art Centre were generous in offering me an office to work in and even a studio to paint in. One afternoon in the Plough Tavern in Bloomsbury, Peter Townsend from Artmonthly taught me more about running an art magazine than anyone else before or since. The physicality of the magazine could never had happened without the energy and enthusiasm of Arthur Watson and his staff at Peacock Printmakers in Aberdeen. The six years of ALBA was a huge roller coaster ride, which sadly did not survive a massive downturn in advertising, a deep recession, and an even deeper, personal, depression.

05. I have been privileged to meet many great art school teachers and heads of school, from Samantha Ainsley in Glasgow to Tony Jones (in various cities around the world). I probably learned most from Professor Geoff Parr in Hobart, Tasmania, (where I worked in the 1990s) in terms of how an art school might be structured and built around a world-class weekly forum program. While there, he and my colleague Paul Zika, helped me to set up an international residency program between Scotland, Hobart, and Canberra. This saw many Scottish artists, including Kevin Henderson, Anne Morrison, Claire Barclay, and Stephen Hurrell, create some memorable art projects, on-going friendships, and in one case marriage (between Anne Morrison and Troy Ruffels – a Glaswegian married to a Taswegian).

Ambition: To set up an annual Pacific City of Culture, based on the European model, and stretching from Vietnam to California, Canada to Australia, Chile to the Russian Pacific. Perhaps it should start as a Superfiction.

Motto: Always follow your heart, not your head.

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We’ve asked professionals in creative industries what jobs they have had in the past to get their foot through the door (or at least pay the rent). For more in the “My First 5 Jobs” series look here.