A fantastic art venue situated in the heart of Glasgow the Pipe Factory / 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.
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 firstname.lastname@example.org
LOCATION : PIPE FACTORY, GLASGOW
DATES : 7th - 13th JULY
INSTAGRAM : @altdegreeshowfest
ADDRESS : 42 Bain St, Glasgow, G40 2LA
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.
‘17/3/21’ still from video, 21m. 37sec.
My work is based on Scottish ballet’s production of Arthur Miller’s play, “The Crucible”. Since my practice focuses on political and religious themes it seemed the perfect opportunity to take my sketchbook along to the production, in the days when we could attend such events, and use this as my starting point for a body of work which includes 11 prints and two oil paintings.
One of a series of 11 etchings.
Print size 40cm x 40 cms
Dreams of The Crucible / etching
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.
My Friend Tasha (2020). Soft steel, fabric, acrylic mirror and imitation pearls.
Untitled (2020). Soft steel, fabric, and imitation pearls.
I am an interdisciplinary artist from Glasgow creating through drawing, painting, and found objects. My practice is focused on the fragmentation of history and the slow erosion of shared, family memories. This is shown visually through intensive collection and re-creation of heirlooms, re-discovered by myself through collections of family photo albums. The stillness and nostalgia felt when experiencing my personal family history is intrinsic to the viewing experience of my paintings, which is demonstrated through colour and abstracted forms. My paintings discuss the importance of their objectiveness by reverting the traditional aspects of painting through the use of a fragmented surface.
Daisy Carousel / oil pastel, acrylic and oil paint on
Joel Davidson’s practice focuses on illusionistic ways of working, producing works that momentarily cause confusion in the viewer: Pieces can be easily mistaken for the real thing before being seen as an art object.
The installation of works intentionally plays with context and expectation, which sometimes might make the work seem ephemeral, incongruous or alien to gallery spaces.
Within my work, I attempt to draw parallels between class, masculinity and status – using influences that range from GREGGS pastries to historical paintings – which manifest in quasi-figurative sculptures that blend the grotesque, the bodily and the absurd.
Self portrait (Ear wax)
Oil and acrylic on canvas
Ella Josephine Campbell
My work plays at the crossroads of visual arts and puppetry. It seeks to foster dialog, porosity, or inversion between worlds; matter and spirit; the cell and the system; the organic and inorganic; humans and the more-than-human. With their agency revealed, material objects become subjects, mediators for relationships to
happen. I often practice art as a refuge, and I seek to transmit this experience. Through sensory experiences, stories, and instinctual movement, inspired by ritual and myth, I strive to make space for
This project has involved 3D making and puppet fabrication involving wood, textiles, and paper, all the way to performance, filmmaking, and photography.
Human Cave, Wood Sprite
Medium: Installation, Video Projection
Gaia’s practice stems from a fascination with internalbodily processes and the sentimentality that is attached to the absorption of sound, food, and the passage of time. The capacity to which these elements, when translated through the body, can create a dualistic relationship between love and decay. By referencing personal memories that have elicited physical sensations, she strives to recreate a specific feeling of warmth out of the elements that have either affected, integrated into or originated from her body. Through the amalgamation of edible sculptures formed from sugar and gelatin, as well as light analogue circuits; she attempts to show the miniscule connections between the external world and internal, their states existing in a constant flux of emittance and absorbance from one another.
Neither running nor carrying love on my shoulders
Installation, Medium:(sugar, plaster, resin, gelatin,
human hair, aluminium, pvc, wood, fabric, beads,
pasta, steel, styrofoam, icing, LED tealights, LED sound reactive circuits.)
Guarino’s work imagines unreal spaces where the interfaces of digital media pour into the physical world in ways that are at once seductive and uncanny, resulting in surreal pieces that invert images and objects’ relationships with each other and the viewer. This work is a meditation on an increasingly
tactile digital media contesting the attention of the physical world and static image making.
This projection piece depicts a pinboard and its contents that reflect the changing state of the subject throughout the course of a year.
The piece transposes our experiences of a world surrounded with images that are backlit and scrolling, into the physical - questioning our relationship with technology and examining ourselves through a series of the self-archiving reminders of a single subject.
Trompe L’Oeile, projection installation
Lucas Orozco (b. 1993, Madrid) is a Glasgow
based visual artist whose practice explores the relationship between modern taxonomy and its influence on the contemporary understanding of authenticity. He enquires about the impact of the discovery of the New World and how the necessity of a universal system of classification might have fostered the establishment of a canon still sustained by institutional structures heir of the European colonialism, such as the museum and the academia.
Through the manufacturing of diverse and modified objects and facsimiles, he researches their intrinsic nature by intentionally generating a taxonomical headache in their categorisation through traditional systems of classification.
On [dog’s name]
Mixed media installation
What is your Artist’s Statement they ask? Like it’s so easy to sum up your practice in a few easy to digest sentences. What do I talk about? My concepts? My materials? My process?
My practice is without boundaries so I struggle with even beginning to define it. It’s the thoughts I think, the words I read, the films I watch, the people I observe. It’s a cliché, but it’s true, it’s the way I see. It’s an expression of my experience, it’s what matters to me, it’s overflowing with my truth, and it’s unapologetically me.
It’s materiality and process, it’s what grounds me when psychosis takes me out of the tangible. I regurgitate my darkroom ritual, I repeat days spent painting liquid light blindly over shattered glass. It calms me and pulls me from of the storm Complex PTSD threatens to engulf me in.
What have I lost
Rachy’s work spans over a range of media, that provoke all senses - visual, auditory and olfaction - observing the implications of past and present technologies on contemporary society, the effects these technologies
have on the material environments they monopolise - where multi-organisms are of central concern.
Thinking through nature, technologies and organisms, and their many metaphors, Rachy questions what constitutes what it means to be an autonomous individual. Confronting the confusion in the concept of identity forces her to question where one organism ends and another begins, moreover - constantly referring to questions such as - Are we nature? Where do we end and machines begin? How far has technology penetrated the membrane of the skin of all organisms?
Maybe the boundaries are too leaky.
Found Frames 2021
(wood and metal frames with weaving)
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.”
TITLE- A PLACE FOR ___
Painter, gatherer, trespasser.
Straddling shifting borders. Shaped by the Edgelands of Europe. Currently based and working in London. Bringing the figures relegated to the margins and roadsides of collective memory to centre stage.
Interested in image based storytelling- not letting
words get in the way of a good narrative journey.
Wildefrau for the New Millennium.
Precarious- The Ladyboss Series
The Slacker, 2021
The Motorist, 2021
Two Acrylic Paintings on Canvas, 170 cm x 100 cm
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.
‘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
Olivia Leven is an artist living and working in Glasgow.
She is interested in ecologies of all kinds. She likes
the complexities of sticky narratives and boundary
spaces where inviolate things touch and repulse each
Scrubbing the Bone is a documentation of process,
Named for Abramovitchs Balkan Baroque(1997) in
which the artist sits amidst a pile of bones, cleaning
each one and singing folk songs.
Composed of thousands of images individually
altered the video is a visualisation of small consuming labours that form a process.
images are swallowed, digested and regurgitated in a flickering loop. The digital combines are made up of photos and drawings of environments of the island of Lewis, a place the artist always returns to , a site in which the immediate rawness of the the environment buts up against the romantic image of Scotland she is at once attracted and embarrassed by . The work takes these images of traditional romantic wilderness and makes them painful to watch. Flickering and pulsing, sometimes spasming frenetically and sometimes moving to a score.
Scrubbing the Bone/Practising/Processing/Chance