A fantastic Part 2 art venue situated in the heart of Glasgow the, 16 Nicholson Street.
About the Festival
The Alternative Degree show is a student-led initiative that will take the form of an art festival spread across a number of venues in Glasgow.
Part 1 kicked off on the 27th of May with the Sculpture and Environmental Art show.
In Part 1, work was shown in the Briggait, the Wash House, Woodlands Community Garden and Mid Wharf Art and Design. There was a large variety of work such as video, performance, large-scale sculpture and installation to name a few. Click here to see more.
Part 2 will take place later on the 7th of July with the Painting and Photography show. Venues for Part 2 shown here. To get a sneak peek at artist's work check out on Instagram.
To secure a place at the Alternative Degree Show book tickets for each venue. This booking system is in place to ensure that we keep visitors safe by staggering entry. You will find relevant information about each venue through booking.
If you have any questions about the booking process feel free to email email@example.com
LOCATION : 16 NICHOLSON STREET, GLASGOW
DATES : 7th - 13th JULY
INSTAGRAM : @altdegreeshowfest
ADDRESS : 16 Nicholson Street Glasgow G5 9ER
My practice embraces imperfection, damage and decay. Using ways of presenting, printing techniques and materials to turn the photograph into a one off object.
“It’s Just A Scratch” is a new presentation of works by Glasgow born and based photographer Fletch. Combining high quality photographic prints with repurposed Glasgow City Council fencing, perspex from bus stops and wallpaper paste, Fletch produces a body of work concerned with conflicting relationships between imagery, materiality and the context from which they’re borne.
It’s Just a Scratch
Chloe Ashworth (UK) is a multidisciplinary artist that specialises in Photography. Her photographic practise is influenced by the accessible and alternative materials found in her immediate environments. Ashworth looks to isolate and question the behaviours
present in her relationships, encouraging the viewer to question where they place themselves in the works.
Chloe aims to invite people to deconstruct why and how we are subjected to certain emotions in relation to certain experiences; aiming to provide a common ground that normalises truthful human experiences whilst simultaneously taking a moment to acknowledge the complexities of them.
Value Zero (2021- ) //Thermal Prints
After working as a life model I started this project thinking about the politics of being drawn/represented. Who creates an image?
In a series of life modeling performances I use a large fruit hat (a huge bobble hat, made from wool, in the exorcised style of a Carmen Miranda fruit hat; with grapes, pears, apples, oranges, kiwis, lemons, peaches, a honeydew melon and a watermelon) and a series of poses to explore how a female model
presents herself, and how she is seen. The drawings presented are the documentation of this exploration.
The lady in the tutti frutti hat!
The Vita Thenogi is a hagiography of Saint Thenog, the mother of Saint Mungo and one-time co-patron saint of the city; scribed, illuminated, and bound with great care and using historically accurate methods. This life of Thenog has been translated into many different languages by volunteers to explore what can be lost or gained through the process of translation- into different languages (as the monks, nuns, and scholars who originally scribed and illuminated religious texts would have done) and across time. The Vita tells the story of Glasgow’s mother in the mother tongues of its present-day inhabitants and, as such, aims to be representative and inclusive of Glasgow’s diverse, modern-day community.
It is also an attempt to plug a gap in our material history: by appropriating the methods and aesthetics of the early medieval era, the Vita Thenogi hopes to furnish the unfortunately sparse historical record and gently pass on the fading memory of Thenog to the reader.
Bookwork: Cotton rag paper, iron oak gall ink, egg tempera, various pigments, gold leaf, linen thread and cordage, madder dyed silk, nettle dyed cotton.
I, Emma Lawrance, (UK) specialise, or rather, enjoy communicating the thoughts and feelings I wish to share/express through Painting, Drawing and Spoken Word.
The piece ‘Still listening Allison’ refers to the image I collaged for my 2020 Degree Show ‘I listen, Allison.’ Since putting together the first image, work and life have really changed the position and as well my approach to making – I work now to serve the materials I use and the thoughts I am having.
Pen and Pencil Drawing on Transparent Paper
Still listening Allison
My practice is rooted in drawings. I make etchings and paintings which grow from these drawings. When making, I situate the gendered body within landscapes, using the language of faerie tales to depict moments of transition, as the lines between bodies and their environment become blurred. I draw on a theme which recurs across many traditions: that the ability to shape change is a reward for acts of good.
In my paintings I use water-based media, which lends itself to depicting this fluidity, creating ambiguous boundaries among drawn lines. The work is site-specific in that it belongs to the Scottish landscape, primarily because this is the only landscape I have intimately known. When making, I reflect on the generational feeling of the natural world as something distant and fragile, and incorporate this into the way the figures treat their space.
Shed Ur Body, gouache on paper
My work is connected to the concepts of the digital avatar, intimacy, and eroticism. The work takes on a multitude of mediums specific to each project, all with the aim to create a constellation of different works intersecting and speaking to one another. I am also interested in cuteness, anime, and the commodification of the self.
This work is part of a current investigation I am conducting in digital painting. I have ended up making quite personal works alongside a conduct of research I am doing into the philosophical role of eroticism and death.
Dissociate Triangle, Digital Painting, 2020
Jess Hay is a Glasgow based creative specialising in textiles, primarily rug-tufting with wool. This technique is labour intensive and combines the traditional method of rug-making with new technologies.
After graduating from Fine Art at the Glasgow School of Art in 2020, Hay is now based in Southside and commutes to her studio in the East End where she works.
This piece was created from a time of experimentation and exploration into physical forms of bodies, using shapes to depict the journey a drawing takes. The use of shapes rejects traditional techniques of life drawing, such as long periods of artist viewing subject. Instead it proposes freedom of expression and creative adventure when drawing the human form. This particular rug resembles a feeling of reaching towards light, to feel as though you are floating before pure bliss.
And They Touched The Light (2021) // Wool Rug
Julia Boman (b. 1993) is a Swedish artist and art educator based in Glasgow. She graduated from Glasgow School of Art with a BA in Painting and Printmaking in 2020, and has since been navigating the new and emerging forms of making and consuming art. Julia’s art practice has gone from large sculptural installations, to two-dimensional works experienced through the screen, and now back to sculpture-form in a physical space. Julia’s recent work examines the circularity of subject-object relationships whereby the maker and the made feedback into each other.
the you box is part of my larger exploration of the cyanotype process and my continued engagement with the circular question: what’s the point when there is no point? The work is made of smaller textile cyanotype prints, sewn together, and fitted around a plinth intended for last year’s degree show. Moving from working with paper to exposing prints on textiles I am learning how the materials react as well as how I, in that process, react to what is created. The maker and the made merge.
Rooted in drawing, my practice is driven by a
desire to know the world around me through a
process of abstraction. I spend time outdoors
finding manmade and organic textures, patterns and structures to be transformed into drawings, illuminating what is present around us.
Human traces, stains, scuffs, machines, growths and decay are some things that catch my eye. These fragments of visual fodder are unmoored from their original context, reimagined and embellished as hybrid images using an array of
‘Settle / Sweep’, coloured pencil on 250gsm paper,
29.7 x 42cm
My work is concerned with the landscape and how it is negotiated, exploited, utilised, forgotten and reused.
Using the edgelands of Glasgow as a focus point, I concentrate my practice on the the minutiae within the overlooked and rarely observed transitional space between the urban and the rural. Shifting the periphery central.
Never observing the landscape as a whole, but rather building an understanding through its details, making physical interventions in these environments as a means to comically make the unseen ‘seen’.
My work intends to allow new ways for this ‘out of view’ space to be approached and interpreted, subverting the usual rhetoric of a cities edgelands as an inaccessible, hostile ‘none-space’, but as space for play and creation, of contemplation, absurdity and beauty.
Edgleland Fragment #2
Hand-printed silver gelatin. Selenium toned
Edition 1 of 2 +1 AP
Using muted tones and therapeutic gradients, my drawings are a homage to a quiet life. Themes of presence, embodiment, isolation, and memory persist by the process of continuously applying and removing graphite from the surface of the paper. Delineating the image through minor and deliberate variations in tone, they exist on the cusp of familiarity as a somewhat foggy and surreal communal memory
“Check sofa “
Graphite on Somerset
22 X 30 cm
Rapha Taylor is a multidisciplinary artist from London and is based in Glasgow. He creates retrofuturism collages by merging post-war utopian ideas with post-analog imagery by putting video and LED screens in handcrafted wall hangings. Working in an instinct driven picture making process, he explores technological utopianism, the domestic, and kitsch, incorporating many different methods and materials in his work like carbon paper, found objects from charity shops, woven textiles, and Apple devices.
Stretched woven textiles on canvas, with a handmade frame and embedded iPod touch.
Eirini Kalogera’s work is about looking, observing; drawing inspiration from the domestic objects around her and their formal qualities that usually go unnoticed since we are so accustomed to them.
She draws inspiration from their everydayness and function to create her own interpretations, at times stripping them bare of their purpose of existence or shifting the attention of the viewer to its form, making them objects of aesthetic admiration.
A plaster tile, custom-made to fit specific objects in a household. Usually used along other tiles as such, curating the placement of furniture in a house, leaving no space for rearrangement.
MEDIUM: 40x40x10cm plaster tile, various pieces of furniture