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 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 firstname.lastname@example.org
LOCATION : THE BRIGGAIT, GLASGOW
DATES : 7th - 13th JULY
INSTAGRAM : @altdegreeshowfest
ADDRESS : 141 Bridgegate, Glasgow G1 5HZ
The Ouroboros, a snake eating its own tail is an ancient symbol representing: birth, death, and rebirth. This abject image of the self-sustaining snake has become an allegory for the evolution of my practice during this period of isolation. Destroying older artworks and cannibalising the wood led me to create this new body of work.
The word, “Gravid”, is the biological term which refers to pregnancy in reptiles; and also denotes something which is “full of meaning(s)”. The culturally maligned serpents which have become a trope in my woodcarvings address the idea of impurity. By embracing the temporal or fragmented aspects of the body, my figurative works resist binarised categorisation with no clear gender or defined level of completion. The gesture of a child holding a snake subverts polarities such as fear and attraction; beauty and repulsion.
Gravid, 2020. [Carved recycled industrial pine, brass handle.] 240 x 50 x 30 cm
Untitled (Child with Snake), 2020. [Carved recycled industrial pine.] 40 x 43 x 55 cm
“You know that gorgeous looking apple that you bite into then realise it’s rotten? That’s what I make art about.”
Confrontation and benevolence, isolation and belonging, humour and disgust, shyness and seduction; situated somewhere in between is the work and life of Council Baby. Guided by dichotomy and inspired by people’s guises, Council’s work is autobiographic paired with sarcastic titles that create a coping mechanism to the works often serious meaning.
Council’s work starts as poetry or drawings, then evolves into sculpture or installation to dissect the contradictions that exist within and around us.
What You Got a Door Handle in Your Bag Fur?
Medium: Installation. PVC Pipe, Mixed Media
Repeated visits to the site of a burned-out car in Glasgow formed the starting point of my practice. Repeating the journey to the park a number of times throughout the pandemic became a form of ritual, recording the further deterioration that has taken place since my last visit - both inflicted by anonymous people and the effects of nature. This documentation became the basis of a wider investigation into surfaces and their transformations over time. There is an interest in my practice in removing the artist’s hand from the work and leaving outcomes up to chance.
Reimagining Derelict Spaces
49 Patinated copper plates (103.6 x 147 cm)
& 6 A2 Photographs on paper
Hannah Kate Absalom
Absalom’s work primarily focuses on concepts surrounding religion and mysticism through a contemporary interpretation of ancient iconography, ritual and folklore. This investigation expands into a reflection of Judeo-Christianity on the aesthetics of the grotesque and horror, specifically in 20th century cinema. Absalom aims to present a classical yet surreal interpretation of dystopias and apocalypses within the framework of contemporary concerns; political, societal and environmental.
The uncanny is an underlying aspect of Absalom’s practice, primarily her video work. The imagery used can often be
unsettling, disturbing and hypnotic in its blending of dream and dogma.
/ ONLY SALT AND SULPHUR LEFT IN PERGAMUM/ THE FORCED FRUITS OF TIPHSAH / GOD DOESN’T WHISPER HE SCREAMS /
- Oil paint on stretched canvas, 1500 x 1800 x 50 mm
Jack McElroy is a multidisciplinary artist who explores subjects surrounding Scottish identity and social history through personal and participatory research by collaborating with people and groups which develops and takes form as site-specific art projects, making sculpture, installation, photography, and drawing. From a working- class background his work aims to attract people who may not think of themselves as interested in art to encourage participation in the arts from a wider audience.
Drying Green, 2021. [Graphite on Newsprint.]
120 x 410 cm
‘The Steamie (1988)’: Me and Gran in Maryhill Park, 2021. [Video, Photos, Installation using furniture from the artists Grans home.]
“My research looks into the documentation of
performance artworks and what could be considered as performative imagery. My practice is informed by provisional painting and drawing from my dreams and imagination... Quite often, a fox appears
somewhere in there. You’ll usually see her sipping a g&t in a 1930’s power suit or a pair of 70’s flares – and always a pair of killer heels.”
Today, 2-4pm, Saturday 2-4pm, Tuesday
Sitting with The Fox (2021)
The Fox/Mackintosh Projection (2021): https://
The Fox (2021) [Short Film]: https://
Degree Showcase: https://gsashowcase.net/julia-
I am a multi-disciplinary artist whose practice centres around concepts of injustice, prejudice, and social inequality. My works are designed to invite and provoke reflection and action and should be considered within the context of the viewers’ own histories.
For me, materials and processes are all integral components of my visual language. I see deep etching in metal as analogous to the deeply embedded structural violence resulting from bureaucracy and faceless decision-making processes, whilst branding tools stand for a metaphor for actions and decisions which scar the body, the psyche, and for the trauma imprinted in collective memory.
Faceless Decision Makers ‘I dub thee…’
Outdoor Installation View
‘Approved’ and ‘Rejected’ – oversizedheat branding irons, mild steel, 15mm, overall dimensions: 31.6cm x 106.7cm x 130cm
My creativity is in a permanent state of flux allowing the transition between abstraction and figuration, painting and installation. Indian born British citizen, I experience a sense of belonging and not belonging to both eastern and western cultures. My ambiguous work is an ongoing communication of this hybridity, influenced by nostalgia and diasporic memories.
‘Anant’ meaning infinity, is one of a series of works investigating identity, erasure and nothingness. Continuous forming and reforming of the fragments of ‘Self’ explored through ‘Bindi’ (an intrinsic part of Indian identity), from the word ‘Bindu’ - a dot, seed or a point at which creation begins.
Robert McCormack was born in London in 1997 and grew up in Inverness. He studied Painting and Printmaking BA (Hons) at the Glasgow School of Art, graduating in 2020. Robert is currently co-coordinating the group exhibition ‘Graduate Drive Thru’, on the top story of an NCP car park, which is set to take place in September 2021 as part of the upcoming Glasgow Open House Arts Festival. Drawing and installation will be exhibited from 7th - 13th July as part of the Alt/Degree show at the Briggait, Glasgow. Later this year Robert will be showing work at the Alterside galley in Seoul, Korea as part of a group show with curator Aeji Seo. As part of the same project, Robert will be co-curating an exhibition at Transmission Gallery, Glasgow in November 2021. Robert was a recent recipient of the 2020 RSA John Kinross Scholarship to Florence, Italy where he will travel on residency for three months. Robert currently works with children with additional support needs in High schools which informs and supports his practice.
Top Marks (Detail)
Charcoal drawing on paper wrapped around a
stretcher, 200 x135 x 5 (cm)
Vita Lerche is a conceptual artist. She practices working with process, perspective and fragmentation to explore themes of agency and control.
Vita conducts performative events, in reference to Allan Kaprow’s ‘Happenings’.
She uses these events to reconsider the relationship of an individual to underlying social and political systems.
The blueprints and objects of such events are displayed. These works act as a guide, to encourage others to reconsider their own relationship towards agency.
Seven individuals were invited to find and watch a battery constructed out of 80 potatoes cast a green light in a closed tunnel. Of those seven, three arrived easily, three had to be found and directed to the location. One ended up going to a stranger's apartment. Photographs of the battery were taken by participants. These photographs were developed and attached to a closed shop front. They were then left to blow away.
Potato Battery, 80 and 81.
From The Potato Battery Event series, 2021.
156 A4 sheets of printed paper photographs, blue tack.
A patchwork of thoughts, smells, textures; layers of a past that looms on my mind, stitched together as a way of treasuring time.
Using thread Emma Boiston builds stories that are rooted in child-like imaginings of the past as an attempt to memorialise a time that has been lost. Fabric is dyed with vegetables, fruits and stains in an attempt to rebuild a memory of the garden’s of her childhood; whilst stitching, knitting and embroidering establishes a closeness to domesticity and the women of her family. The process of making acts as a coping mechanism for pain, a form of translating identity, rooting the maker in a place and time as a means of documenting a life.
Frolicking Amongst the Flowerpots, patchwork of naturally dyed fabric, embroidery and sewing