The Vertical Cinema project re-imagines the actual projection space and uses a custom-built projector. It is a 90-minute programme which premiered at Konstraste Dark As Light Festival 2013. It features works by artists from Austria, the Netherlands and Japan including Tina Frank, Björn Kämmerer, Manuel Knapp, Johann Lurf, Joost Rekveld, Rosa Menkman, Billy Roisz & Dieter Kovačič, Makino Takashi & Telcosystems, Esther Urlus, Martijn van Boven & Gert-Jan Prins.

Pyramid Flare by Johann Lurf

Colterrain by Tina Frank

You can preview all ten films on vimeo here and find out more about Vertical Cinema here.

For more information and to book tickets, please visit Glasgow Short Film Festival here.

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Victoria Evans is a Glasgow based artist working out of Wasps’ Briggait Studios in the Merchant City. This is where she makes…

I’m primarily an oil painter – a very messy one – and I work on a large scale, so a studio/workshop is a must. The beautiful cultural complex at the Briggait helps keep me in touch with a diverse group of artists, and the building’s Victorian industrial vibe, updated for contemporary use is a continual inspiration. My work often deals with feelings about impermanence and time passing, so the fact that parts of the building date as far back as the 17th Century resonates with me.

I’m lucky enough to have a studio with high ceilings, iron rafters which I’ve hung a swing from, and big windows with a view on to a little green. It’s pretty much my fantasy of what a painter’s studio should be like. When I moved in three years ago I remember feeling guilty that I’d landed such a perfect spot so early in my career. Now I’m very much at home and would sacrifice a lot before I’d give it up.

One of my other favourite parts of the studio complex is the airy, piazza-like 1873 Hall – a stone flagged covered courtyard that used to be a fish market. My upcoming exhibition ‘Standing Stones’, which opens 21 June and runs until 19 July, was especially conceived for this space. For more details about Evans’ exhibition, please go here.

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‘Where I Make’ invites readers behind the scenes of artists from many disciplines to share photographs and a little insight about where they create their masterpieces. See more from the series here.

Strength in Numbers was a solo exhibition of sculpture by artist Helen Shaddock. The work was shown at The Briggait, Glasgow, in October 2011.

Helen’s work stems from a fascination and visual attraction to organised information, lines, stripes, colour and repeated patterns. Order and Chaos repeatedly challenge each other and unexpected results emerge from highly controlled, obsessive and rigourous actions.

See more images from the exhibition here, and for more of Helen’s work see here.

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My weaving studio is a chaotic world of yarn, ropes, looms, shuttles and pirns, with flashes of neon colours and lots of bright natural light. It has been described as a psychedelic goldfish bowl, full to bursting with my colourful textiles and inspiration imagery: corals, anemones and underwater life all feature in my designs, with a sporty nautical influence from sailing and windsurfing.

I weave my designs on computerised AVL hand-looms, combining traditional techniques with modern technology.  I’m usually juggling several projects at once: making my own range of products, client commissions and developing new work.

 My studio is at the Briggait, a traditional fish-market which has been renovated by Wasps into artists’ studios and offices, housing an eclectic mix of artists, designers, craftspeople, dance companies, a circus school… I’ve got friendly studio neighbours and every now and then a pantomime horse wanders past, or music drifts along the hallway from performance rehearsals, reminding me of all the weird and wonderful things that go on around me.

www.angharadmclaren.co.uk

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‘Where I Make’ invites readers behind the scenes of artists from many disciplines to share photographs and a little insight about where they create their masterpieces. See more from the series here.

I started Nameless Wonders in 2009, mostly for the ‘craftier’ work, and have now started exhibiting too, using my own name – there’s a bit of migration between the two areas, though.

The work – I use animal forms in the work as a vehicle for experimenting with and exploring the possibilities presented by combining and reworking fabrics. I like to play with colour, pattern and texture combinations and use thread visibly and freely worked – I find this like a kind of drawing process, finding the form through needle, thread, scissors – and just keep going till I’m happy with the result. I like to think the way the animals look is how they would be if we could see their ‘soul’, if there is such a thing, rather than a realistic representation. They make people laugh anyway, and that’s half the pleasure of making them in the first place.

I don’t know, and don’t really bother about, whether it’s art or craft or both. It doesn’t really seem relevant. The work comes out as it does and I like to leave it at that.

There’s more on my page on Facebook

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‘Where I Make’ invites readers behind the scenes of artists from many disciplines to share photographs and a little insight about where they create their masterpieces. See more from the series here.