A fantastic Part 2 art venue situated in the heart of Glasgow the Skypark.
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 email@example.com
LOCATION : SKYPARK, GLASGOW
DATES : 7th - 13th JULY
INSTAGRAM : @altdegreeshowfest
ADDRESS : 8 Elliot Square, Lancefield Quay, Glasgow, G3 8EP
Ailish MacDonald’s work usually takes the form of painting and photography with colour, composition and form being the main visual tools. Her interests lie within sardonicism and personhood with the intent of exploring and addressing the prevalence of anxieties of the modern-day world, commonly using figurative, often bold imagery.
She is also interested in the banal undercurrent and seedy underbelly of humanity and the archetypal characters we often become, or present ourselves as, through mundane actions and personal ‘quirks’ with an emphasis on visually exploring the good, the bad and the ugly.
(oil paint, oil pastel, coloured pencil and acrylic on canvas,
100 cm x 100 cm)
My work often critiques the utopian visions of architecture and design, exploring the mistranslation between their ideas & realities. I am interested in how these ideas are expressed through material & form, and
appropriate those found within domestic & architectural environments. My process is led by play with these materials, physically investigating their capabilities. I use artificial materials to reference "masking" - a widely shared autistic experience where people suppress the
visual signs of their autism and imitate behaviours to conform to social "norms". My sculptures usually take the form of utilitarian objects that have been rendered unfit for purpose.
Kitchen Cantilever is made up of reconstructed Formica countertops that are fixed to a steel support.
Kitchen Cantilever (2020).
Sculpture: Formica, Wood, Steel, Paint & Wax.
My practice explores the feeling of immersion gained through both digital and physical environments. The environments created are imagined or inspired from a particular element of colour, light and form. My outcomes predominately work in series, each having
various different material outcomes which aim to investigate, grow and explore the initial ideas
being showcased. I am interested to see how these interactive, immersive, colour-filled environments can create alternate narratives for the viewer. They pose questions about the environment we use to experience our art. Can they help the viewer each different thoughts, ideas and memories? And to what extent can this be explored, developed and investigated though scenes which interact on a different level with the viewer? The works thus act as doorways to a world where the viewer and artist can meet, places that are unrestricted, curious and open.
Blue Towers, Oil on canvas, 50 x 32inch 2021
Motivated by the desire to document rose-tinted memories; paintings, illustrations and animations form the basis of my work.
Visually, these works explore the malleable perceptions of memory. They are developed through a process of collaged preparatory material, short animated sequences, and larger paintings that are revisited over time. The act of painting becomes a playful tool to navigate between preserving details of a memory and projecting a sense of feeling to a scene; often displaying a combination of abstracted colour, contrasting figures, and trompe l’œil rendered material to present a collapse in the experience of memory.
[Left] ‘Home Sweet Home (Suzy’s Ceramics by Rowan Doucette)’ 2021, Oil + Acrylic on Board, 150cm x 110 cm x 2.5cm
[Right] ‘Wandering (Moving Day Gift)’ 2021, Oil + Acrylic on Board, 35cm x 35cm x 6cm, (Frame 14 of looping animation)
Emma McAndrew D’Souza
The title ‘Homepage’ is an on-the-nose reference to the internet’s relationship with the domestic realm. Blue-screen technology combined with Microsoft
Paint drawing create a lo-fi digital backdrop to a physical room containing solely handcrafted items associated with a typical contemporary British home. It simultaneously resembles a sloppy DIY vision of a genuine home-space, an IKEA showroom, and a white cube gallery space (complete with felt-tip pen exhibition labels listing the unconventional range of
The lumpy objects are an homage to the early fruits of online DIY tutorials and primary school art lesson memories. Conventional items like
terracotta plant-pots are accompanied by surreal replicas including a ceramic laptop.
Medium: Ceramics, textiles, felt-tip pen on paper,
digital image and video
My research is rooted in science with a particular interest in the life cycle. I explore how time and existence aid the process of deterioration of our anatomy. My work looks at the internal body and realm of viscera, probing towards an understanding of what lies beneath. I use scientific data and materials to synthesise a guttural, intuitive, construction process. Sculptural works are produced using a mixture of technological and craft-based techniques which are suggestive of clothing, apparatus and machinery. Works often present as tactile and playful to a high finish aiming to draw the viewer in to inspect the work at a level similar to the scientist's specimen.
‘ Siblings’, pine, bonded leather, canvas, nylon thread, brass, copper
I make work to communicate my experiences. I
work from memory and from observation. Drawing is at the core of my practice. I use it as a tool to capture moments through colour, form and texture. In my work I hope to communicate the materiality of things and my enjoyment in them. I draw with collage. I paint from drawings. Torn isolated shapes and their edges play an important role in my paintings, they create a collage like aesthetic.
My work is honest and communicates a joy in
ordinariness. I am interested in the process of
abstraction. The abstract represents my experience. My experiences at this time are repetitive, and I like communicating this repetition in my work.
Toast, Bowls, Spread, Cheese and Squeeze
My work investigates the connections between objects, display, costume, places, memory and creative influences, with the aim of deciphering these connections through my own processes of making. Film takes on a kaleidoscopic structure, creating an absurd audiovisual experience. Devices represent motion and circular patterns, reminiscent of artex swirls, a racetrack of interwoven motifs and W.G Sebald’s Rings of Saturn of Saturn, which records a walk through nature interspersed with thoughts, memories and meanderings. A supporting catalogue/index takes the form of an auction catalogue; Lot 1. The various facets of my research and practice cannot exist as disparate elements, but rather function as a collective, with each component connected intrinsically to the work as a whole.
Lot 1 Catalogue
Lot 1; A collection of multiple works using various media.
William Aghoghogbe is a multidisciplinary artist
exploring drawing as a method and means of
His current project ‘Chewing the Cud’ pokes at the
strange convention of using the language of ‘feeding’ to describe machine learning processes, and the sacred ruminant digestive system of cows, sheep, and goats.
‘Chewing the Cud: Ruminant Copy’ is the fifth instalment of the ‘Chewing the Cud’ series.
It is a figurative drawing, made in observation of an
incomprehensible logic. It is a celebration, albeit
incomplete, of everything that cannot be seen, done or understood.
Chewing the Cud: Ruminant Copy
Coloured pencil and gesso on paper. 65x65cm
My work is a meditation on repetition in daily life, domestic comfort and discomfort, and questioning the meaning of ‘home’. Through it, I intend to shine light on the value of mundane actions and ordinary objects in the often under examined context of our everyday realities. I explore the quotidian, and the beauty that can come of it.
This film shines a magnifying glass on the liminal space of waiting for endless lockdowns to be lifted. Week after week, pushed back and back again. The home was no longer a home. The outside was another world. Spring was never going to come. But in truth, the film is a love letter to hope, and to finding the way out of a deep, dark place.
I Wish I Was Outside (2021)
Viktoria Szaboova & Lisa Fabian
Viktoria Szaboova’s practice is autobiographical and
self-motivated, orbiting around identity politics - an
umbrella term for personal experiences concerning
authenticity, cultural heritage, childhood and
womanhood. Translating personal memories and
feelings into atmospheres via a range of media such
as painting, print, photography, and installation,
Szaboova creates hyper-material combines not fixed
physically nor categorically. Through her work, she
oscillates between the many polarities that inhabit
the self and the other - with this oscillation
functioning as the main catalyst for self-
understanding and healing.
‘Time as Space’ 2020,
metal, wood, screen print on cellophane, digital
print on acetate, chains
Lloyd Mackenzie Smith
My work is made in relationship with paintings of the past, my immediate surroundings and the natural world - relationships established through observational drawings, paintings and prints. By working in-situ of the gallery, drawings from paintings develop into paintings of my own in the studio. Of late, Paolo Uccello’s ‘The Battle of San Romano’ has been of great interest to me and a starting point to develop a range of painted responses.
Untitled, Oil on Canvas, 70 x 80 inches
Lucy brings deeply rooted shame and ick at the dysphoric biology of self and crosses its visual memories with those of soaring euphoria and desire. Feelings of flux, transit and flight reached for desperately from a quickly sinking earthly grounding, make known the weight that will never give way to unbound surgency into fantasy. Through visual and written mediums scars of human experience are treated, swaddled & presented in woeful admiration of grief, that grief is then surrounded in warm fantasy born realms that corner the memory in loving importance, a soft healing of gnawing hardship to live amongst.
My Sweet Cyberium - painting, sculpture and performance.
I used to know this table well but now I know it really well. I knew the ring marks on it, and I knew not to put a heavy pot on its far corner. It has one side that we would
use more often, and the other would come up if we had guests. This table was one of the first pieces of furniture that I bought after leaving my parents’ home. This table
has been the site of many meals and conversations, big and small. This table is an object that I have a relationship with, yet there are loads of objects that I regularly throw away or replace.
Fixing an object these days is not usually a practical choice, it is a sentimental one, as it is often cheaper and faster to replace an object than to repair one. I wanted to
explore the relatively recent absurdity of the act of repairing by taking it to an extreme level and repairing the same object again and again. Of course this also meant repetitively breaking the table, which for me embodies the paradox of caring so deeply for some objects and so
little for others.
Drop Leaf Table
Megan Queenan is a Scottish artist who creates conceptual installation-based artwork. The work reflects the artist’s personal interests in sci-fi, horror, vintage technology, human psychology, nostalgia, and death denial. Queenan is interested in the impossible conversations of the everyday and how the human brain conflates the unexplained with the paranormal- specifically technological anomalies.
Queenan aims to change the ways in which we talk about and perceive death, shifting the narrative of death as something to vanquish, and instead embracing its presence in our lives, to consider how the digital imprints of ourselves that we leave behind will be handled posthumously.
Ectoplasm, glass wax
Robyn Sands is a Scottish artist, currently based in Glasgow. Her work is inspired by natural landscapes and features of folklore. Influenced by time spent in Scottish Highlands, her work explores the
relationships between man and the environment.
Fascinated by the aesthetics of nature, her work attempts to capture the mood, colour, characteristics and curiosities that are often overlooked. Travelling to specific landscapes, she utilizes journals
to document her findings within the spaces. Later these journals act as an archive to use when developing her drawings and paintings.
Robyn regards her work as a conversation, a way to understand and communicate her experience of the specific world(s) she inhabits.
Oil on board
Susan Torrance produces a lot of work, inspired by stories, images, found items and connections. Following a story to deduce what happened and why, and what lessons can be learnt produces visual works and signs. A dead tree on a walk leads to Dutch Elm disease, the interaction of beetles and fungus and man’s substitution of a native hardwood with costly imports. Nature wants to substitute us.
The size of the etching plate at 1m x 0.60m allows me to incorporate clues, images and words which draw together in one place like a scientific poster, the implications of Dutch Elm disease and the parallels with Coronavirus amongst humans..
“And the beasts shall inherit the earth”.
Etching, 1m x 0.60m Blue ink on Somerset Paper
My practice is centred around themes of routine and household tasks as I attempt to deconstruct the mythological figure of the artist. Using processes and materials traditionally associated with feminine labour, I aim to shine light on aspects of more traditional work connected to an artist’s practice.
In the studio, I am led by process rather than outcome as I try to achieve a meditative state through the production of works. This forms a key aspect of my investigation as a way of renegotiating the artist’s value in our current cultural climate and improving the collective understanding of what artistic work means.
BLUEPRINT - Embroidery thread on scrim and polyester
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
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.
Psyche / Acrylic and oil on canvas