A fantastic art venue situated in the heart of Glasgow, THE WASH HOUSE.

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.



DATES : 27th of May - 4th June

INSTAGRAM : @fourth.year.sea

ADDRESS : The Wash House, 13 Gibson Street, Glasgow, G40 2SN

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Chloe Charlton

Chloe Charlton is a moving image artist living and working in Glasgow. She is a recipient ofCreative Scotland’s ‘NuturingTalent-Time to Shine Fund’ and her work has screened at Oberwelt Gallery, Stuttgart, and Radiophrenia, CCAGlasgow. Through montage and image witnessing, her work addresses the materiality of the geological world transmitted from the camera’s animating eye. Emerging from an ecological stance, she is directed by the sensual entanglements of the lived experience. Her films offer archaeological material of the present to question the extractive tendencies brought about by the Anthropocene.

SCART ROCK,The Sisters

2021 / Digitalised 16mm/ colour/ sound/ 9min21secs

Edie Preece

Pitches that can regain function

Pitches that have gone beyond function

Spaces that can become pitches

Impermanence of the built environment

Gaps in the cycle of utilisation

Slow time

Open systems, open spaces



Potential of such spaces, and the possibility that any member of the public could reactivate/change/call them to attention. Why has it not been maintained? Who should maintain it? Who has the means to maintain it? Is this public or private land? Who has the right to change things in spaces? Why would they decide todo that?Act on space in the city.

One Third Pitch

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Geraldine McConachie

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.

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Cosy CrumbsMedium: Sculpture, Installation

Holly Houston

My work is driven by the response to the ongoing pandemic and maintaining relationships between myself and familyin an isolated time, prompting us to sustain contact and conversation in another way through art. In these unprecedented times, I am currently making work by participating in safe collaboration with female relatives by using practices that they have taught me (sewing and knitting etc) and teaching them new ones through fundamental ‘how to’ videos for a full circle of learning.

This piece of work is based on maintaining relationships during COVID-19with members of my family. It is an installation including a woven blanket that my family members each helped me make through safe collaboration of How to Kits and video searching them how to weave and hanging embroidery hoops showing fragments of conversation we had through a reflection sheet. The piece takes inspiration from how I have had to change the way I maintain my relationships with members of my family, mainly through outdoor visiting and safe social distancing.

‘Covid Family Get Together’, April 2021Individual woven square blanket from ‘COVID Family Hug’ Hand embroidered hoops of fragmented conversationHolly Houston, Carol Houston, Roslind Ramsay, Keira Ramsay, Alexis Houston, Claire Wat

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Maya Rose Edwards

I adopt a hunter gatherer approach to art making.A semantic magpie who reads objects and uses language like Lego bricks.I aim to punctuate the linguistic landscape with moments of waiting and relativity, using this as a catalyst for poetic and sculptural happenings. At best a metaphor, in all things a contradiction, my work exists as acute observations and ephemera than aim to uncover order and comfort within negative spaces.


I want to establish how objects stand in place for us, challenging the sequence of the everyday to occupy the boundary between self and other.Always in series or cycle, closer to madness than reason, I reflect an experience that is personal to me yet universally attainable. Relying on the right degree of wrongness to induce double takes inpassersby, aiming to displace the hierarchy of perception back to there alm of the pedestrian.

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Scott Pearce

Within my art practice I am interested in the tension between whereI come from, in relation to what I am studying, and the rapport between people, and places, of personal significance.I often explore these themes through the mediums of photography and sculpture. Recently, for example, I have been researching my family history.

This work is derived from a research project about the relationship between myself and my late Grandfather. Sadly, he passed away before I was born. Using his old film camera, I have been shooting areas of Edinburgh we have both lived in and frequented over the years one of these areas is Easter Road stadium the home ofHibernian F.C. Exploring this fairly recent family history is my attempt to gain knowledge and feel closer to a family member it’s impossible to meet.

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Like Grandfather, Like Grandson

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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.

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“Mother Plant” Ceramics, Live Sculpture, Installation

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Molly Stubbs

I use practical skills to capture the foundations of my heritage; the bridge formed between my industrial make-up and the entering into a conceptual art environment; contrasting a definite, methodical and practical character inherited from generations of miners and a childhood situated around a working dockyard. 


This bridge is materialised through the building of machines, using traditional, engineered planning to arrive at kinetic sculptures with alternative functions, mechanised by audience interaction which is paramount to the function of the work. Gears, cogs and wheels, from blue prints, etchings and drawings, informed by monologues, photographs and film.

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Canary Resuscitator, Kinetic Sculpture