A fantastic art venue situated in the heart of Glasgow, French 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 altdegreeshow2021bookings@gmail.com



DATES : 7th - 13th JULY 

INSTAGRAM : @altdegreeshowfest

ADDRESS : French Street, Glasgow, Scotland, G40 4EH

Blair Wallace

Blair Wallace (b.1999) is an artist currently living and working in Glasgow, Scotland. Working between video, performance, installation and photography, Wallace’s work is guided by phenomenological modes of interpretation which are used as aids to examine objects and experiences which deal with ideas around documentation of self, time and labour.  Situated in a contemporary context, his work brings into question the changing nature of documentation and how modes of documentation have changed over time. Touching on themes of voyeurism and surveillance, his work reflects on how we create, share and consume documents of existence through modern technology, commenting on the affects these new modes have in altering human behaviour.

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‘17/3/21’ still from video, 21m. 37sec.

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Chao-Ying Elizabeth Rao

Chao-Ying (BETTY) is an East Asian multi-disciplinary artist whose experiences in sex work heavily influence her practice. Her interests are often fringe as she believes what causes us discomfort speaks volumes about our culture and shared values. Her work often asks challenging questions that prompt us to re-evaluate our intuitive reflexes, with the aim of reaching a nuanced and more compassionate understanding of each other and the world we live in.

My Friend Tasha (2020) revolved around a couple I met online: a married man and his silicone companion, a ‘sex doll’. Documenting their lives together, expanded my understandings of gender, kinship and identity. Assumptions around sexuality, intimacy and objectification were torn apart, and parallels were drawn with drag and queerness through Tasha’s creative expressions of femininity, and the extension of selfhood through gendered online performance.

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My Friend Tasha (2020). Soft steel, fabric, acrylic mirror and imitation pearls.  

Untitled (2020). Soft steel, fabric, and imitation pearls.


Callum Diffey’s practice utilises
photography, sculpture and video.
Toeing the line between sensitivity and
brutality, visually referencing motifs
present within queer culture and found
imagery their work is an investigation of
concepts such as the dichotomy of pain
and pleasure, the sacred and the
profane, collective memory and trauma,
identity and the beauty in the debased.
When two opposing ideas or feelings
are whole or experienced

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CEILING ROSE - Silicone, metal and chipboard


Jennifer Elizabeth McNeil

Working as a multi-disciplinary artist I explore my surroundings and personal history. The uncanny, loss, time and memories are themes I frequently explore using a hybrid blend of various media.

The video work was made on my iphone at home and is part performance, part photo-collage. The photographic prints are 35mm film developed in a caffenol solution.

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Cosy CrumbsMedium: Sculpture, Installation

Jake Gatehouse

‘These systems are not static’ was a statement made by research ecologist Craig D Allen Ph.D. describing the ecosystems and the migration of forests within The Valle Vidal in Northern New Mexico in September 2019. It was a fleeting remark but uttered with certainty, urgency and frustration. It spoke of a disconnect in the perception of our environment. A call to action, stating an obvious fact but one that is all too easily forgotten. These words impressed me and stuck in my consciousness; they became the title for my ongoing conceptual photographic project of making submerged self-portraits. The oxymoronic quality of pairing this statement with the visibly static photograph seemed to adequately describe the elusive and ‘uncertain’1 relationship photography has with reality. The project is an ongoing investigation into how we perceive and interact with our environment but also the implications of image making at this time of climate and political crisis


Using a large format 4×5 camera and a mechanical self-timer. I set off the timer and then run into water (be that the sea, river, lake, loch and so on) then dunk under before the shutter is released.

These Systems Are Not Static




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Lizzie Little

I am a contemporary figurative artist. I depict the human figure from life, found imagery and archive in order to create narratives that may describe a theme. My practice realises the work through combinations of drawings, printmaking and oils on stretched linen and canvas. Thematically, I have been exploring contemporary depictions of Venus and Mars in
domestic settings, and the idea of a 'study of closeness'. The themes in the artwork explore personal experiences and possibly lived narratives, but can be depicted through the anonymous characters I collect. This allows me to remain
anonymous through the work but allows the viewer to collage and impose themselves into the imagery.

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The Lovers Triptych,
Oil on linen
Each 123 x 138 cm

Julie Rose Rahbek

My work is about textures and materials as much as it is about a deeper meaning. I am attracted to colours and how they work together in different forms. I use found or donated materials, and often the process of finding the materials, plays as big a part, as the actual outcome.

My weaving process has developed as I have taught myself over the past few years into leaving intentional gaps and voids within the completed weaving.

I see the process much like drawing or painting, but one where I can not paint over or erase. The process of weaving is linear, I must follow on from what I have done before, I follow the grid and can not go back.

Unlike traditional weaving the pieces are intended to be kept on the loom and in turn the frame from which they were made, forever suspended. I see it as the weaving and the frame coexist.

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Found Frames 2021

(wood and metal frames with weaving)

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Neha Apsara

Neha Apsara considers herself as a four-fold minority: an Indian, queer, neurodivergent ex-Muslim woman. Her practice is concerned with the female form, bodily memory, and sexuality in relation to ideas of modesty, religious control, and cultural and colonial constraints.

Yearning – A Letter to Mum. 

Moving image with audio.

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Sarah Olivia Johnston

Sarah Olivia Johnston is a Scottish Artist (b.1998) based in Glasgow, working primarily through the medium of painting.

“Sometimes, I can feel an uncomfortable sense of familiarity in places I’ve never seen before, ominous yet nostalgic. My work investigates this feeling, visually translated through re-imagined landscapes that sit between reality and my subconscious.

To produce a painting, the memories of recurring places in my dreams work in combination with my real-life surroundings. Further aided by experiences within our own mind, or outside of our reality, questioning whether or not they are unique.


Investigating the circumstances, where they can be shared by more than one individual, offer validity to conspiracy. Describable, but not always visually documentable, and unimaginable un-less experienced, my work looks at lucid dreaming, Liminal Spaces, Alien abduction and dimensional exploration.”

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Tsuki Liang

Glasgow based artist graduated from Glasgow School of Art in 2021. My expressions towards life is the fundamental idea behind all my works. Whether is my despair wailing to the meaningless of life, or questioning the way of living. Life itself is the thing I obsessed the most. For me, art is the language of my show. It allows me to escape from the limitation of words we used in daily life. Both consciousness and unconsciousness within me are unity on my canvas. They speak for themselves with elements, colour and each brush strokes.

Emotions that I feel are real, but I can’t describe them with words properly. 

Thoughts that I understand are deep, but I’m unable to describe them with words completely. 

Things work in their own way, the same as me: my mind, my impulse, my instinct……


I think I’m a bit tired.


I want to lie on the floor like I have dead already.

I want to blend into the light with the rest of everything.


Corner, corner.

You are ordinary just like me.

Corner, corner.

You are my marvellous Muse.


不可言, 不可说。

Let me turn off the light.

And shh.

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Corner, Oil on canvas

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Rosie Trevill

Rosie Trevill is an interdisciplinary artist living and working in Glasgow. Her works use writing as a departure point and span predominantly across screen printing, performance, sculpture, audio and moving image. Rosie’s practice centres around resistance and resilience within the everyday, intertwining personal and historical narratives and excerpts of research. Most recently, Rosie has been exploring solidarity and collaboration as a form of resistance to unjust frameworks in her visual arts, research and project coordination practices.

Navigating Dialogue (making sense of your awkward glances) explores how labour and competition impacts both the arts and gender relations. Together the printed textile hanging and hypertext game present both the back and front end of the script, examining modes of communication and agency within audience interaction. The audience are invited to navigate the endless loop of writing, a maze that frequently turns back on itself, in replication of experiences that are often repetitive, synonymous and draining. The text itself asks whether we can find potential within these existing systems, or whether they will continue to replicate the same inequalities and instead offers solidarity in shared experience as a new mode of interaction.

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Navigating Dialogue (making sense of your awkward glances) - digitally printed textile and online hypertext game.


Kate Seaton

My practice comes from an interest and passion for exploring the natural world that surrounds us. I work through my continuous search to find placement in our natural and our inorganic world.

I am intrigued by how things grow and move to create forms between each other. These hidden lines and forms inspire and motivate me. I work with both nature and humans to create space for narrative, and a setting to stimulate thoughts and reflection. I explore this connection through the bodies movement and interaction in relation to inhabiting a space.

I see these human qualities and behaviour mirrored in natural spaces when I look closely at the detail and form along with their ability to engulf, alter and take over spaces. A continuous


the power of inosculation 

infuse between and grow together

bare root  

from coppice community forms


discovery and beauty through exposure

as one 

can we force placement


reflect my mapping

disregard this dark shade

this unfamiliar wither

hypocotyl  space 

a space not fully yours 

plant round my counting

false rest to resist a time to reflect 

our domestic garden

consumedly search

skin looks for skin


through these lines

a new form of touch

sit here

narrate bare branches for me

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