The virtual showcase is designed to showcase students work who are unable to physically have their work on display at the festival.
About the Virtual Environment
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.
LOCATION : YOUR LAPTOP SCREEN
DATES : 7th JULY ONWARDS
INSTAGRAM : @altdegreeshowfest
ADDRESS : https://virtual-showcase.herokuapp.com/
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
HEADS, 35mm photograph
Jennifer Cuthill is a multidisciplinary artist who
works with painting, printmaking, animation and
clay. Blending dreamlike imagery with imagined
cave ecologies she explores the relationship
between geology and the subconscious, as well as the dance between fiction and reality. She takes inspiration from the entanglement of these hidden worlds with narratives and stories and attempts to make these ethereal landscapes physical, transforming and fusing these surreal inner worlds into outer ones. Her recent work is
interested in the connection between scent and
memory and the emotional and sensory responses this can produce.
Inspired by antique perfume bottles and how the
boxes they were kept in were known as ‘perfume
caves’, this piece explores the way in which certain scents can produce emotional response signals in the brain, triggering memories from deep within the subconscious and forgotten moments in your life.
‘The Scent Cave’, clay perfume bottles, oil on canvas board diptych, photoshop
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.
This work questions the transformative role
her art practice can play in the equitable
development of consumer biotechnology.
Juxtaposing the natural with the man-made. Rachy explores the distance between
metaphor and representation through the
combination of mediums.
Digital Composition with Lichen
Carlos Anguera Jover
Carlos Anguera Jover (b. 1995) explores through photography the power mechanisms of picture-making. His works make use of deconstruction and reconstruction of media, technological sophistication and underlying notions driving western culture. Anguera also emphasises the formal attributes of his photographs, challenging the limitations of film-based cameras and the optical apparatuses from lenses.
The physicality presented in the work is driven by the intuitive use of mixed media, combining photography with sculptural works, sound and moving image. Gathering objects from mundane domestic environments, Anguera is interested in the symbolic motifs and tension created when dichotomies are placed within the same picture.
One Less in the Middle Row - Photography
As an Italian living in Scotland, I am influenced primarily by my cultural heritage and displacement which at the same time somewhat motivates me enough to carry on artistically. I mainly work in 3D making sculptural forms, however, I am also adaptable to new experimentation. I enjoy research, challenging the properties of certain mediums, such as found and
man-made objects. I like to challenge the viewer’s perception, building multiple layers of reading and interpretation in my work, and feel satisfaction when I discover an underlying theme or message; deliberate or not.
“Spaccanapoli”, which slices the historic centre in half is an artery road of the historical centre of Naples and is one of the most important streets of the city.
“Spaccanapoli” is a straight, narrow and dark street that cuts through tall buildings.
Natural daylight barely manages to filter through the roofs above. I want to analyse this duality between Naples’s darker and brighter side which are the perfect representation of my hometown. Natural light is metaphorically activating my final
installation, passing through the cylindrical structure. The light is shining over the darkest pattern of coffee scattered on the floor, it represents the light that filters through the roofs of my city over the obscure, narrow streets.
Fibreglass, wire, coffee powder, corn seeds, glass jar,
printed clear acetates sheets, fishing pot (metal net).
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.
Oil Painting Depicting Virtual Environments
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.
MICRO MACROS (2021)
Acrylic (airbrush) on canvas, each measuring