The Gray’s School of Art Degree Show will run from 21 to 28 June featuring work from this year’s talented graduates on the theme of ‘Open Your Eyes’. See fashion design, painting, photographic and electronic media, printmaking, product design, sculpture, visual communication and more. Works will also be available for purchase.

The Gray’s School of Art Fashion Show will take place on the 21 and 22 June. Find more information here and get your tickets here.

For a sneak peek see some of the photos from the degree show build here or watch the teaser trailer below:

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

Landslide

Obfuse

Prints by Edinburgh based painter and printmaker, Struan Teague.

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During Autumn to Spring, The Glasgow School of Art’s Continuing Education Department will run weekly day and evening courses for adults and Saturday courses for children. The programme runs for 18 weeks over two terms from October to March. The courses available are diverse and all are welcome regardless of previous experience or ability.

The courses are taught by experienced artists and designers who are specialists in their field, and classes are held in studios and workshops normally used by full time GSA students. Drawing and painting classes take place in the Mackintosh Building – the building is Category A listed and a Registered Museum as well as continuing to be run as a world-class Art School. The ‘Mack’ is at the heart of the School’s city centre campus which is also the location of printmaking, photography and sculpture based courses.

Learn drawing & painting, stained glass, life drawing, jewellery making, photography, printmaking, sculpture, children’s Saturday classes and more.

View the full brochure of courses on offer and pricing details here.

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Fatherless is a collective of artists, printmakers, designers, educators and graffiti writers from Rockford, Illinois. They tell us how it all begun, what inspires them and their making process:

Started as venture between Corey Hagberg, Jarrod Hennis, Javier Jimenez, and Greg Lang in the Spring of 2010, we began to plan seasonal shows in which we created screen prints together, live, during the event. When an idea came about to feature a guest artist for a series, we chose a local artist and instructor of printmaking to work with, and it was a natural fit. Dave Menard became a full time member following that show. Influences are many and certainly captured by what we have coined as a “Rust Belt Power Pop” aesthetic.

WHAT(ish):
We are not 5 artists that work “under” the name of Fatherless… a Fatherless print is made by 5 artists. The name was decided upon based on the notion that we each member, although responsible for bringing individual styles and influences to the table, will work on each and every print made, but through a process that may lead to working independently with each other’s images.  And since every print is different, they simply stand alone and are not claimed by an individual artist.

INSPIRED(ish) BY:
Our finished pieces aim to mirror the chaotic and detached sense that is communicated in our current consumer driven social climate. A good portion of our imagery is re-contextualized from our current throw away culture to create a finished piece.  We once had a show that was centered around our community being ranked as the 9th most dangerous city in America. It was an opportunity to take a negative and turn it into inspiration. Our fellow artists, as well as large portion of the community, embraced our campaign and took pride in our example by wearing a T-shirt that reflected the ranking.

PROCESS(ish):
We like to describe our collaboration as a “Visual Mix-tape of Creative Shenagination.” The process typically goes down by each of us working on, collecting, and or creating a database of images over a period of time. We meet and sort through which ones to use for our next round of printing, make any additions, alterations or adjustments between and before output to film. Javier and Jarrod both have screen printing shops where the screens are processed. We then hold print sessions either at the college where Dave corrupts the minds of future artists, or at Jarrod/Javier’s shops.  The finished prints are each unique as to who may have used what screen, which colour, in any random order. There may be a theme or series developed at a time, but along the way, the prints are worked with very few restrictions or limited direction. The only rule is to make sure no two prints are alike. We certainly find techniques or image combinations we tend to like more than others, so in order to avoid duplication, each member typically works on 5-10 pieces per screen use. Then on to another image/colour. Most images used in a series are retired from future use. Only a small few have been burned again to a screen to feature in a second series. Coloured paper selections are another excellent way to keep our works separate between series.

CONTACT: info@wearefatherless.com

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See more arts collectives we’ve featured on the site. Think we should feature your collective? Get in touch.

The Glasgow School of Art Fine Art Degree Show 2013 opens tomorrow. Central Station was given a sneak peek at the work on display. The Sculpture and Environmental Art Department was particularly strong this year and across the board, there was an evident trend in exploring materials. Here is a selection of work that really stood out:

Ruth Switalski

Switalski’s series of works explore the body. A huge high gloss digital print triptych initially emanates a sense of serenity as you enter the main gallery in the Mackintosh Building. It shows stills of the body taken from a digital film, printed, then scanned into the computer, blown up and printed again. Up close, you notice the pixelation in the images, hairs on the scan and discolouration, all of which reflect the imperfections of the body.

Rachel Levine

Levine uses objects as signifiers for Western histories. She successfully balances conceptual ideas with craftsmanship in casting replicas of objects. Her installation revels in contrasting materials; polished marble sits alongside rough textiles and plaster casts.

Rosie O’Grady

After a short discussion with O’Grady, the ideas behind Camellemac become instantly amusing. In 1907, the art school allowed a camel from Hengler’s Circus (located on Sauchiehall Street at the time) into the building to be drawn by students. In an historical re-enactment, O’Grady somehow convinced the powers that be to allow a camel into the listed Mackintosh Building once again. Simon Starling came to mind when watching her work… not because he ever used camels, but because he is also interested in reviving history (as in his current exhibition, Phantom Ride at Tate Britain).

Mikey Cook

Cook’s work looks at the fabrication of simultaneously fictional and factual alternate realities. The optical illusions on the walls and plinths reference Roman floor mosaics and have a kind of hypnotising affect.

Sophie King

Sophie King’s work shows evidence of its own making. At first glance, the colourful objects appear to have been discarded from a toy shop. However, upon closer inspection, you realise the basic mechanisms of photography have been carved out.

Gao Muyan

Strength versus fragility is explored in Muyan’s installation. Her contrasting materials (steel, cement, plaster) and elements of the work (multiple cast hands against solid cement blocks) symbolise this contradiction.

Julia Wylie

Wylie’s work is strongly reminiscent of Anya Gallaccio’s Red on Green at Jupiter Artland. Both represent beautiful floral installations laid out on the floor. The main difference is that Wylie seems to be trying to preserve the petals on the floor with some kind of wax or powder, whereas Gallaccio’s work is concerned with observing the natural decay process.

Kenneth Law

Kenneth Law’s installation consists of a 100 foot long piece of paper hanging from the ceiling which is surrounded by more strips of paper. Lines including “I never promised anyone anything” are repeated down the papers. The lines have all been taken from TV scripts and Law questions the moralities of these shows in his work.

Culloden Robertson

Robertson asks: “Can we still appreciate a painting today if it is primarily a thing of representation and beauty?” Influenced by artists such as Boucher and Fragonard, Robertson stood out as she explores the value of an image’s content versus Greenberg’s more abstract ideologies. This is quite a brave thing to do in a school famed for its alumni of well-known conceptual artists.

Other notable works are highlighted below:

Amy Pickles

Grace Johnston

Hannah Roberts

Robert Hunter

Todd Pleasants

The Glasgow School of Art Fine Art Degree Show runs from 8 – 15 June at the Mackintosh Building, 167 Renfrew Street, Glasgow, G3 6RQ. The Design Degree Show is at Skypark Campus, 45 Finnieston Street, Glasgow, G3 8JU.

Written by Kim Stewart

Designer, Neil Henderson worked in collaboration with Stu Allan and Stu Ford for their exhibition WLD/WLVS Presents: STWO.

More: Behance

Who:
Edinburgh based painting & printmaking student, Natasha Russell.

Why we like it:
Natasha Russell keeps it simple by solely posting images of her eye-catching work. There’s no text, it’s purely visual.

Hidden treasure:
Going back to May last year, we found this little gem:

Where to find out more:
Website

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Want to take a look at more suggested blogs by artists? Look here.

Sabine Bein  – BA (Hons) Design for Digital Media

Sabine work was a real stand out. Her 3D and After-Effects projects were of a well polished standard that easily translates to professional standards and expectations.
Use of colour, tone, fonts and layout were all well considered with a beautiful grasp of balance and tone, executed with a resolute neatness that is always the mark of great graphic design.  Sabine’s fictional idents for Channel 5 and typographical style visuals for a fictional documentary on 1950’s fashion were standout pieces in particular.
With such quality being produced at this level it’s exciting to think what will be produced when these skills are applied to future ventures.  We will watch this space (and our televisions’) to keep an eye out for just such ventures…..

Kevin Cameron – BA (Hons) Visual Communication

Kevin’s work stood out for a number of reasons.  The most important being something that we hail highly within our own department – the idea.  Kevin’s work was prolific with ideas.  From conceptual to commercial there was a good run of consistency running through his output for the year.  Coupled with the idea is the inventiveness.  Perfectly demonstrated by his Becks beer bottle top idea (fig1) to help promote responsible drinking and deter drink driving.  A clever idea and simple execution which could easily be adopted by the brand at little cost.
Another highlight was Kevin’s magazine cut outs.  Characters in editorial illustrations were carefully cut out and propped up with a single carefully placed pin to create  depth of field and subsequently bring the images to life in a playfully delicate way.

But what also made Kevin’s work stand out was the volume.  There was much to look at with several inflections of multiple projects on show; all consistent in quality, ability and examination of the subject.  Such tenacity and exploration will see Kevin continue to discover and create brilliant work as he exits the fold of university.

Shona Hutson – BA (Hons) Print Making

Shona’s work is distinctive.  Heavy, bold lines make up blocked prints composed of outline shapes layered and built upon to create a composite image.  Interestingly some of her work features different materials to add texture and colour to the various components – most notably her ‘chair’ composition.  The feel is graphical but seemingly organic like a gentle form of pop art.  Her wall design which took up much of a corridor would be at home in Berlin.  Her work in approachable with (quite literally) many angles to study and appreciate with each view.  The style will lend itself to many other subjects in years to come.  It would be interesting to see them as they come together.

Seila Sysberg & Johanna Lyczko – BA (Hons) Photographic & Electronic Media

Tucked behind the sculpture section was a wall of large photograph prints.  The space was probably ideal as the lengthy, mostly uncluttered approach to the work allowed them to be undiluted by other pieces hoping attract eyes and interest.  But even amongst a busy set of images these particular group of images would stand out with ease.  With unusual subject matter that leans on surrealism, these images invite wonder and debate.   But far from mere concept, the execution of the images merits praise and admiration.  Some images have been captured in a light that has pushed the camera’s gain control settings.  Far from the purist’s taste the grain is evident but bestows softness to the image that from a distance makes it look like a fine details pastel drawing.  A particular favourite was the ‘Octopus’ image.  A naked model displays two octopus (or should that be octopi?) carcasses which drape over the shoulders and down the models back.  The image is both striking and stark in equal measure.  The colour palette that makes up the composition of the scene agrees with perfectly with each other.  The meaning of the image is elusive and presumes to be questioned.  It may question society’s use of animals for fashion purposes, or it may be an attempt to discover beauty in the seemingly ugly, or it may just be a really interesting image.  Whatever conclusion you arrive at the image is hugely enjoyable on many levels.
Another interesting aspect to this work is that it is the work of two artists.  Both working in partnership to discover, explore and capture ideas and concepts; unusual but ultimately in our eyes, successful.

Nicola Walster BA (Hons) 3DD Ceramics/Glass/Jewellery

Tucked away in the Porto cabin section was the ceramics and glass section.  It should be he said that all displays were high commendable with some beautifully fashioned objects on display.
However, there was one set of pieces that exhibited particular beauty and splendour.
Nicola Walster’s work consisted of hand carved stone shapes and vases. The control and flow of the etched linear patterns that laced the objects had the ethereal charm of ancient Nordic artefacts.  But where each creation evoked a spirit of history it was annulled by the modernity of shape or features such as the flaking split that tears down the side of a series of vases.  The rugged splits seemingly natural at first sight but betrayed by the uniformity of reproduction that suggests that it was the hand of the artist that imbued the aesthetic of the design.
Each of Nicola’s pieces resonates with the tactile craft, skill and rarefied technique.  All could claim to be classics and each will find their way into homes to be prized or gallery plinths to be enjoyed by the masses.  Beautiful work.

Other work that caught our attention on a big was Craig Harpers’ paintings, Elizabeth Legges’ plaster reliefs, Hannah Malones’ red string instillation, Mark Rennies dark drawings & paintings,  Marion Leipers’ prints and Jade Murrays paintings.  All great work.

http://www.stvcreative.com/