A fantastic Part 2 art venue situated in the heart of Glasgow, Hanson 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.

Booking

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

INFORMATION

LOCATION : HANSON STREET, GLASGOW

DATES : 7th - 13th JULY 

INSTAGRAM : @altdegreeshowfest

ADDRESS : 77 Hanson Street, Denistoun, Glasgow, G31 2HF

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Sophie Booth

Instagram rules my life, and my practice. In what I can only liken to virtual glaucoma – whereby my own lived experience is algorithmically centred – I currently work
almost entirely from and within a singular platform; with subject matter that is often ‘dead’ before I have even begun, I am forced to question typical creative doubts about my own contemporary relevance and ultimate redundancy as both an artist and human occupying space in the 21st century.

 

In this world of digital overload, anxiety-provoked production and FOMO: you feed the feed, or get eaten.

A series of micro paintings of image macros (memes) that have been cropped at random to represent the lens through which we view online material; highly personalised algorithms dictate how we navigate digital
terrain, aiming to show how centring our own view can lend itself to the (often accidental) development of tunnel vision.

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MICRO MACROS (2021)

Acrylic (airbrush) on canvas, each measuring

20x20cm

 

Adela Kałuzińska

Carving has become an extension of my drawing practice, giving flat surfaces I work with a sculptural identity in which the form is obscured and source image dissected until a vagueness is achieved, and
memory is synthesised into a new form of visual data. My work is a conversation about a disrupted sense of physical landscape, stemming from my experience of migration; the subject matter asks how
the mundane and banal can be so emotional, and at times melancholic. Through a diptych/ series approach to making, a dialogue between surfaces
and layers is imposed, which brings back the disassembled motifs together into a strange nostalgic mass.

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Untitled/ Archipelago 1 and 2

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Amy Taylor

Amy Taylor is a Scottish painter based in Glasgow. Her practice explores painting to reflect contemporary representations of death, magnifying her exploration through the morgue, as a literal yet metaphorical expression of society’s taboo attitudes to death. Her goal is to quietly bring the inevitability of this stage of life to the fore. She uses paint to draw up complex viewing experiences, taking advantage of oil paint’s physical substance-like quality to suggest areas of bodily pallor, while using it to play on psychologically

driven narratives. She wants the viewer to question to what extent death is present in these images, by limiting the subject to ambiguously read states of sleep, relaxation, or landscape like distortion. Taylor does this by both offering and eliminating expected clues like colour and conventional styles that hint at the human form. 

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Retirement, 2021

Oil on oil paper

10 x 20 cm

Small scale oil painting on oil paper. Light and delicate in substance.

Joe O’Brien

I try to share my emotions from a certain time and place through photography, video and writing. Life itself compels me to create. Exploring the World is an investment of my time and energy. I want these experiences to be felt when seeing my work. Whether in the city or in nature I look for inner peace by searching for glimmers of joy. I want to find sense in the World to bring simple pleasures to life. 

 

A close up photograph of leaves during golden hour.
 

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Glimmer II

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Kimia Witte

I enjoy occupying the in-between spaces, in particular the space in-between science and art.

3 x 3 x 3

3 x 3 x 3

3 x 3 x 3

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Cubic Moon – Sculpture & Photograph

Maria Soroniati

Maria Soroniati is a Greek visual artist currently residing in Scotland. While her medium of preference is photography, her practice extends in the fields of sculpture, installation and poetry.

 

Using as a starting point, her experience and observations (both on a personal and a collective level), she distinguishes the world in two facets: what is “seen” and what lies “unseen” beneath its surface. Using the notion of “apparition” she attempts to bring to the forefront those hidden and fragmented realities that reside within the self or the societies that inform and construct the self.
 

To achieve this she uses psychology, philosophy, poetry, literature and politics as a contextual basis for her work and creates uncanny imagery and vacant signs that urge the audience to fill in the gaps with their own readings derived from their own stories and experiences.

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Sacrosanct
(Digital Photographs)

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Matilda Barretta

My work focusses on capturing the way that
emotional states can act as a lens through which we view the physical world. Drawing from
autobiographical daily observations and my interior
landscape of thoughts and emotions, I construct
scenes through drawing and painting that aim to
imbue local figurative scenes with an emotional
authenticity via colour and composition. The results
are pared-back, vivid depictions of vague spaces
and uneasy, uncommunicative interactions within
them. The recurring emotion depicted is loneliness,
whether the character is alone or in company,
communicated in their repressed expressions,
dramaUc shadows and vulnerable poses. The works
contain narrative potential, but give nothing more
than the moment away, like a film still. Whilst the
root of the work is personal, the depicted
experiences are universal, and the specific nature of their source material serves to heighten how
viewers can relate.

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Untitled, oil paint on canvas

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Ruby Lord

 Working across a range of media I attempt to manipulate reality, making the everyday world around us appear strange. By focusing attention onto the often overlooked, I reveal the oddity of how we live, sometimes simply exhibiting the weirdness that already belongs. The peculiar uncertainty of what one is viewing is enhanced by how I combine digital printed media and oil paint, producing scenarios that are part reality and part non-sensical. I work predominantly on a large scale, allowing the viewer to encounter the work physically and imagine themselves within the environment created. 


 

‘The Floor is Lava’ is part of an ongoing larger playpark series, investigating the peculiarity of our surroundings and how we live in them. It is a large scale image consisting of printed canvas and oil paint.
 

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‘The Floor is Lava’ 

 

Oil and print on canvas

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Sam M Harley

Harley works in both painting and curation to research the idea of thingness of objects and how the art object and the typical object function alongside each other. 
Through Harley’s mark-making and clever combination of the 2-D with 3-D, defamiliarisation occurs with the work. The objects Harley uses are found on the streets and have been rejected by the original owner. Harley up-cycles the objects to create a tension between high art and the disused. Harley’s practice considers the traditions of mediums when creating. Areas of thick impasto oil paint contrast with watery thin washes of acrylic as well as the matte interior house paint.

Notice Me is part of a series of abstract works on disused noticeboards.

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Notice Me, mixed media on a noticeboard, 42x60cm, 2021

Josie KO

Bringing together a kitsch DIY aesthetic full of colour and humour with dark gothic undertones, my work playfully presents narratives which speaks towards the Black British experience in a white dominated environment. Focusing on the White gaze on the Black body, and decolonising art institutions, I hope to present an underrepresented perspective and consolidate my thoughts and feelings around my own identity and my upbringing as a multifaceted person.

My work this year has led me to learning very labour-intensive practises, performatively illustrating the labour of women and marginalised communities. By integrating craft practises into my work, I use its relegated status in the art world to address the identity politics of marginalised groups while celebrating the art from these communities that is often left out the canon of art history.

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‘My Ladye with the Mekle Lippis’ 

2021, Papier Mache, Plaster, MDF, Metal Armature, Synthetic hair, Glitter, Acrylic Paint, Plastic flowers, Turf, Acrylic and Wool yarn

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Eirini Kalogera

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.

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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

Yeon Ju

Yeon Ju is a Korean artist based in Glasgow, UK.
She mainly works with acrylic and oil. Her main
interest is to traverse the relationship between
love and sadness. Yeon’s painting captures
fantastic scenes associated with the relationship
of feelings.

 

They are translated to painting in a
poetic and symbolic way with a sense of
metaphor. Surrealistic metamorphosis is
happening in the painting. Her work is enchanting
with flowing, lively and slick brush marks. Her
canvas explores imaginative narrative which
comes from her wish.

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Psyche / Acrylic and oil on canvas

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