A fantastic art venue situated in the heart of Glasgow the, Mid-Wharf Art and Design.
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 : MAaD, GLASGOW
DATES : 27th of May - 4th June
INSTAGRAM : @fourth.year.sea
ADDRESS : Mid-Wharf Art and Design, Mid-Wharf Street, Glasgow, G4 0LD
Drawn by an interest in materials, my work plays with themes of nostalgia and aims to create a relationship with the viewer. My work usually takes the form of site-specific installations including textiles, sound, and video. The relationship between location, artwork and viewer is of great importance tome, trying to create a sense of relatability in my work. A lot of my work is based on my personal experience growing up as a woman in both Scotland and Spain.
Must have two vertical
Posts equidistant from the corner
And joined at the top by
A horizontal crossbarThe goalposts and
Crossbar must be made
Of approved material
Square, rectangular, round or ellipticalIn shape
Field of Sculpture, Wood, recycled football tops
Erin Hephzibah is an emerging multidisciplinary artist who uses performance, sculptural making and collaboration to explore themes of chronic illness, psychological theory and folklore. Her most recent work focuses on personal experiences of illness and caring –inviting the audience to witness the psychological, emotional and physical battle endured by the chronically ill behind closed doors.
49.5kg began as a response to ableist notions of illness and the romanticisation of caring for a sick loved one. Through a collaboration with my sister, a fully rounded and honest narrative of illness and caretaking is portrayed with the intention of educating and engaging an audience in conversations about carer and disability rights, treatment, and representation.
Iju Park is an artist and she works between Glasgow and Seoul. Her practice is based on the essence of human life through sound, installation and writing. Her recent work is the way of understanding others in the fluid world. This question comes from observations about lacking of connection and irrationality during lockdown. We under-stand each other even though there are so many conversations. There is a lacking of understanding in society between people. Even without the lockdown, she interestingly observes these problems are always with us.
P1/2 (r, θ, φ)
I am fascinated by what it means to function. In the perfunctory nature of mechanics when integrated with the body, the clinical nature of the functional aesthetic unfolds. Cold, synthetic, far from any likeness of human are expenditures of the body. Extensions so integral to our day to day we forget they exist. They taunt our idealised perceptions of function and the formed aesthetic suggests there exists an ultimate ideal of human utility. Its by setting out on quests to fulfil this idealised functioning I attempt to recreate complex functioning objects. Pumps, whistles, bellows, propulsion shoes. The aim, to convince others of there ability, the reality, my embarrassment of there lack of. And so I fulfil an internal prophecy of failure. By attempting to recreate function I expose myself to this failure and laugh through its gripes using silly narratives and jerky animations as pain relief
Exercising Existence’ - Film (5:00 min) and installation work
My work largely involves using found or recycled materials, and working in a way that brings something new out of those materials.Texture and form are my main considerations when working, and I try to trust my instincts and keep a sense of fun or play to the work.
Loosely figurative piece, made from aluminium beer cans collected over the covid 19 lockdown period.
‘The Collapse of Man’ aluminium cans, glue
Luke Raphael Andrew
A 21 y/o artist from Glasgow interested in combining cinema and installation to tell fictional, surreal stories in a new way.I make work that I’d be entertained by if I saw it myself, my goal has when exhibiting is to consider the event and spectacle of experiencing as much as the form the art itself takes.
Using images from both Country Life,published in the late 19thand early 20thcentury, as well as images from BBC Science Focus, I’ve made a series of collaged landscapes that exist on a selection of found windows. The landscapes tell the story of humanities technological progress over thelast one hundred years as well as looking onward, one hundred years into the future
The Old Earth Cantos, Window Collages
I live under a cloud of ALIENATION: oppression, inequality, gender roles, depression, childhood trauma, exploitation, capitalism, climate change, individualism, consumerism. Art, as IMAGINATION, allow some to think beyond this, to see things differently from the way they are - Art answers limitations with freedom. For me, these answers involve connection, presence, embodiment, the unconscious, slowness, community, stillness, mayhem, unpredictability, joy: these are all components of ACTUALISATION. Living in the world means that these ideals can be sought, and glimpsed, but not held on to.COMMUNICATION – speaking about these ideals and how they contrast with the status quo involves engaging with both bringing them into confrontation with one another
This Too Shall Pass
I’m interested in collisions of objects and bodies in space. A method whereby all the senses become enmeshed, and memory is the sixth sense. At the foreground of my work is an emphasis on personal, local, and universal mythologies. Coincidence and superstition inform narratives about a place and its objects. I like to assemble alternative fictions using ones that might already exist, re-processing elements of an environment in shifting contexts. An approach that involves feedback loops, rather linear histories, and timeframes.
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.
I’m a woman.
I’m a news reporter.
I’m a health expert.
I’m a narrator.
I’m a 28-year-old psychopath.
I’ma real estate agent.
I’m a doctor.
I’m a waitress.
I’m a barista.
I’m a therapist.
I’m a teacher.
I’m a girlfriend.
I’m a trope.
I’m a bully.
I’m a dentist
They’re a viewer.
They’re a listener.
They’re a client.
They’re a friend.
They’re a student.
They’re a patient.
They’re a lover.
They’re a viewer.
They’re an enemy.
They’re a manager.
They’re a customer.
They’re a sexist.
They’re a receptionist.
They’re a mother.
They’re a confidant.
They’re a character.
I’m a character.
We are one.
I believe art is salvation.Sometimes we feel life is hard.But we can receive the sense of security, the echoes of your invocation and warmth from the artwork. My work centres around themes of emotion, exploring personal and collective anxiety and trauma. The work's physicality adopts simplicity and minimal expression and deals with intriguing parallels in relation to personal feelings and universal emotion a land spiritual experience. A tension exists between the personal and universal, and by sharing personal stories, I hope to connect to others
Exhibition at home
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.
Zara Nicole SmitHh
Exploring themes of impermanence, grief and connectivityI intend to reflect the wider themes of personal and community identity, contemplating ideas on a ‘lost present’. My current practice relies heavily on process,I carefully consider the process as this is just as important, if not more, than the final outcome of a work. I am intrigued in ephemeral forms within work that can exist in the reliance of others and in the flux of impermanence within nature.
This project stems from a cutting of a spider plant, gifted from my late mother.While contemplating the everyday object and intersecting this with the processes which layer and align with my experience of loss, grief and growth.The slow process of making ceramics, ritualistic pit firing, polishing, planting, caring and sharing. The viewer is presented with the choice to share some of this responsibility, with no directions of how to do so, only an invitation to share a photo back on an interactive map. The work now exists in the hands of the individual.
“Mother Plant” Ceramics, Live Sculpture, Installation
I am interested in making work in, with and for the natural environment. My practice evolves around responding to sites and situations, where I draw my inspiration directly from the place, site or land. I always hope to emphasise connection and co-existence to the natural world. Part of my practice is about working intuitively in the landscape, creating while I go. Being spontaneous and experimental in the field is key to my development process. The research starts with immersing myself in the environment I wish to know more about and I develop a sense of the place through sketches, photos, videos, and sound pieces.
‘Kelvin’ 16mm film
I like to gather images objects and sounds and vibes and arrange them into installations. Loneliness, pseudoscience and male pattern baldness; these are all things. I think right now my aesthetic interests draw upon the same school of thought as the ‘I’m random :P’ phase of 2011 that I never grew out of.
Kwokhyn Wan MBE, known as Gok Wan, is a British fashion consultant, author and television presenter.He epitomises a very specific time and atmosphere of the late noughties for me.I like when images are stretched width-ways. It’s a funny leftover function on Microsoft Powerpoint which serves no purpose.
‘Gok Wan Serenity Surprise’ Digital Collage 720 × 405 pixels