A fantastic art venue situated in the heart of Glasgow the Briggait is part of the Wasps group.
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 kicks off on the 27th of May with the Sculpture and Environmental Art show.
In Part 1, work will be shown in the Briggait, the Wash House, Woodlands Community Garden and Mid Wharf Art and Design. There is a large variety of work such as video, performance, large-scale sculpture and installation to name a few.
Part 2 will take place later on the 7th of July with the Painting and Photography show. Venues for Part 2 TBC.
To get a sneak peek at artist's work check out on Instagram.
LOCATION : THE BRIGGAIT, GLASGOW
DATES : 27th of May - 4th June
INSTAGRAM : @fourth.year.sea
ADDRESS : 141 Bridgegate, Glasgow G1 5HZ
"Help I’ve swallowed my art practise and now I am the size of a house.
The kitchen is covered in instant mash
The bedroom has bears with beans inside
The bathroom has a wooden toilet and a shower that only spits out beans
The garden has a tree that grows red teddy bears
Outside the door is the fierce receptionist
This is my house, and you may come in."
Water closet is an impractical bathroom. The toilet is made from wood and therefor is permeable to juices. The carpet is ready to receive staining. The woollen self-portrait marks the artists territory. It is both a homage to one’s own family and a critique of their hypocrisies and failings. Displaying both shame and comfort.
Water closet: Wooden and textile.
My work looks at the relationships people have with artificial/imagined space and how they can parallel someone's relationship with real space, emulating an atmosphere, an emotion or a memory but also how artificial spaces can create those same feelings without needing to be in reference to something real.This line of inquiry stems from my own relationship with digital space, video games and the internet as places which are significant to my life as well as many others.I also want to capture how the real world is reflected back to us through a digitallens. By doing so the work created can be seen as allegorical for the transition ofmany aspects of our lives going from physical to digital space and the resulting‘anxiety of the unknown that can exist as part of this process.My work is presented directly as works of digital art where elements of glitch and technical failure are celebrated in the way other artists would celebrate inconsistencies in paint and clay
Selected Work 2020-2021
Informed by my love-hate relationship with British identity, my work aims to caricature the landscape of contemporary society using the mediums of sculpture and performance. I am interested in the role sports plays as a theatre of the absurd and a spectre of nationalism, using a simple game of tennis as a structure within which to investigate ideas surrounding play, applause and patriotism, seeking to pervert everyday behaviours out of context. I consider binaries within society, often exploring gender through masculine and feminine polarisations and identities. The relationship between live and recorded, improvised and directed, image and sound synchronicity, and the interplay between these elements is central to my practice
Hit Me Harder: The Final
My practice involves forming works of suspension, work that present opportunity for new perspectives upon approaching reality, for myself and for the viewer. I’m interested in manufacturing moments in which the viewer is solidified as the protagonist. By this I mean I wish to create work that leaves a mark on the individual viewers, which can be pinpointed, admired and recollected for their own means.
Short film and audio work placed on and off the set; chair, table, carpet, plant insects.Drawing upon themes of dread, anxiety and control, this growing work is a product of an exploration into a relationship between horror media, perception and giving space for fear to sit. The work aims toact as a physical manifestation of a save room, a point of rest and reflection in the preparation for progress.As the sun sets, it is unknown what the night will bring.Please equip the headphones and take a seat.
Everything I Have Is In My Hands(2021), Installation, short film with audio
Francisco Llinas Casas
Francisco Llinas Casas explores notions of migration, Latin American identity, the Bolivarian Diaspora, and the elaboration, performance and representation of cultural difference.His work often takes the form of installations and participatory art. His making process, however, explores a breadth of media and techniques; starting with annotations, drawings and audiovisual 'gestures', which are later translated into large scale sculptures that feature smell, sound and/or food. Such a multidisciplinary approach responds to his interest in liminality as the space where identity is negotiated, and art as an emancipated form of enunciation.A similarly important part of his praxis, is the development of socially-engaged art projects responding to ideas of cultural belonging and representation, de-colonisation of cultural spaces and stories of migration.
'Physichromie Con Mamá y Chinchorro
My current work addresses themes of grief, childhood and food through personifying my coping mechanisms, which is the comfort found in food. I make enlarged sculptural versions of my comfort foods, particularly food my late dad would have given me and my sister, and I place the sculptures in comfortable positions in a home setting. Through doing this I believe I comfort and protect the thing that protects me from my grief, whilst also creating humour to hide my sadness, through the absurdity of food in places it wouldn’t normally be.
The materials I use are important to me as they remind me of a time of innocence and play. The relationship I have with food can be dictated by the toxicity of diet culture, but through making this work my aims are to act as a therapeutic release from the recent loss of my dad and food and body shame.
Cosy CrumbsMedium: Sculpture, Installation
HUSS is a Middle Eastern artist based between Cairo and Glasgow, working throughout mediums to explore personal and cultural themes. His discipline involves experimenting with and combining elements such as installation, sculpture, visuals, and audio, to culminate in immersive performance pieces. HUSS use sh is work as a performance/visual artist to raise awareness of issues facing theMiddle East that lack acknowledgement within western society, including racism, ethnocentrism, Xenophobia, and the stigma Arab communities face regarding mental health. Reflecting on his experience in Scotland and the internal conflict it has created surrounding his identity, HUSS is producing work that both immerses and educates the viewers.
My current work hopes to explore how sensory and material experimentation, rooted in traditional artefacts and practices, can help to understand ideas about cultural heritage and belonging, particularly as someone of dual heritage.I want to use traditional techniques as a framework for examining memory whilst playing with material to create physical displays of the mixed Thai and British culture I exist within. My practice is rooted in research of traditional techniques and forms, as well as oral family histories and conversations, from which I extract information, stories, and objects to forma type of family ‘archive’. The focus is often on playing with the process and filtering my own experience through it, instead of technical accuracy. I would like to create objects of a shared history, a display of gratitude from me, to all the people that allowed me to exist within the context I am currently living in.I hope my work can create an immersive little bubble of memory. The aim is that even though the work is personal, an audience can engage with the universal feelings of inherited culture, familial warmth and the time and care involved in the process of crafting.
From them, through me, to min
In my current research I have been investigating the impact that individualisation brought about by global capitalism has on social interaction within the context of the history of human reliance on cooperation. In the context of my studio practice, this has manifested into a study of the cooperative and community driven nature ofEstonian swinging culture, looking specifically at village swing sites as spaces for community bonding and Northern Estonianswing songs as rhythmical collaborative devices. The results have been a body of work which will be split between MAaD & The Briggait 1873 hall.Through various interpretations of the motion of swinging, it attempts to highlight the sense of instability and uncertainty which underpins our current collective consciousness but invites the audience to become collaborators in each other’s experience and share a moment of solidarity in an increasingly individual isedsociety.
Paria Goodarzi, Iranian born Artist, living and working in Glasgow, member of UNESCO RILA Affiliated Artist network. Her work revolves around cultural and political transfers and translocations, the ideas of the contemporary human condition, cultural identity and political issues that resulted in an ambivalent coexistence of civilised life, conflict and displacement. She examines the hybrid condition of our society and the processes of formation, performance and representation of identity through a multidisciplinary practice that often takes the shape of participatory and socially-engaged artworks .As part of my initiative practice I focus on ideas of cultural appropriation and belonging by altering the meaning, function and contexts of cultural identity to shed light on democracy, equality and inclusion in the migratory process
The Redistribution of MemoryA multidisciplinary work, Metal panel, Barbed wire,Paper, Videoperformance
My work usually ends up looking like shrines; sometimes intentional and sometimes not. I am obsessed with obsession andI allow my work to indulge in the thoughts and questions that keep me up at night. In saying that I don’t really stick to anyone particular theme, I use my practice as my own personal research which constantly evolves and accumulates. I believe in the power of the sketch book and I like making my own materials and imitating other objects. I love being an artist because I can play the part of gardener, writer, researcher, explorer or whatever suits, the only constant is my own personal interpretation that is also in a constant state of change.
Shame for Sale
Interdisciplinary artist interested in notions of queering play, looking at how this can exist within the blur of digital and physical spaces.Encouraging exploration, play, and misunderstandings:misunderstandings creating new thought processes. Working with collage as away to disseminate the original context of objects in order to reimagine their meaning and potentiality, through propagating sound, digital 3D, impermanent physical objects, tactile technology and video; this layering makes what was previously unimagined now form the beginning of imagining. Playing generated through imagination, objects, and self, temporarily coming together creating a specificity of time that can’t be repeated.
The work usually takes the form of a time based installation, the core being the tactile interaction or bodily interruption of the player, allowing people to be able to explore and investigate, their touch (physical or digital)shaping the encounter; the player, an active participant.
Portable bus stop/medium: sculpture
Wang Xiangru 王香入(b.1999) is an artist based in Glasgow and Chongqing. Xiangru investigates experience and perception of reality on spatial and temporal scale. Incorporating moving image, sound and fiction, she explores reality construction and constructs an alternative/multi-layered reality system rooted in magic and intuitive experience to resist current Technic-based reality.Her work often directs towards ambiguity and speculation to achieve experiential ineffability.