‘PEOPLE SHAPE GLASGOW: AN OBSERVATION IN PRINT’

Six Foot Gallery proposed this exhibition ‘PEOPLE SHAPE GLASGOW: AN OBSERVATION IN PRINT’ to the members of the Glasgow Print Studio to offer an additional platform to exhibit their works in Glasgow and to see what their observations are of Glasgow and it’s people. Who are the people that shape Glasgow and what marks have they left on the city? 

The theme of this exhibition, although regional, is to be liberal in avenues of thought and direction welcoming experimental interpretations of this title in portraiture, still life, abstract, and landscape.

Exhibition Dates// 25.1.19 – 18.2.19

Preview// 24.1.19 6-8pm Pentagon Centre, 36 Washington Street

Featured Artists

Chelsie Dysart

“The city of Glasgow is a busy place, it is constant movement. Glasgow city centre is a bit of a transient space, there are thousands of individuals passing through it constantly, moving in all different directions at all times. “Que” observes the movement of the city, through the swarms of crowds and takes a second by drawing in situ to capture the movement which is commonly ignored. ‘People shape Glasgow’, as it is the people in the city that provides life and movement to the city.”

Clare Crines

Duncan MacGillivray

“My proposed photo-etch print ‘Operator’ shows a scaled up macro photograph taken of a vintage die cast metal toy and is symbolic of Glasgow’s tough hardworking industrial past and the struggle by workers to improve their working lives by campaigning and protesting for safer working environments, better conditions and a decent living wage which is sadly, still ongoing not only in Glasgow, but across the world. These are the people who have ‘shaped’ Glasgow by physically constructing and maintaining its heavy industry and infrastructure.”

Fouzia Zafar

“The works submitted for this exhibition are based on the Arlington Baths Club in the Woodlands area of Glasgow. Founded in 1870 it is the oldest Victorian baths in of its kind in Europe. As a child, Fouzia grew up just around the corner from the Baths and it remained an inaccessible curiosity throughout her childhood. Having ‘grown up’ and paid her membership Fouzia has been inspired by the quirkiness of objects, spaces and histories that lie behind the walls of the Arlington Baths Clubs. Like many of the inhabitants of the city it has provided a sanctuary from everyday life.

Fouzia describes play as a key concept of her work. Play encompasses repeatedly finding, composing and constructing new tools and processes to explore objects’ history, surfaces, and qualities, whilst also constructing new narratives. During play she explores her themes: the strangeness of memory, family histories, migration and absence. These are distilled through the use of shape, pattern, composition and process.”

Hannah Lyth

Ian Collins

“I am interested by the way in which neglected structures and surfaces aquire marks and signs, and also by the way in which light of a particular quality can expose an unexpected beauty in what are often unremarkable subjects.

These photographs are an attempt to present what was seen; they have not been manipulated or enhanced.”

Jane Lee

”I have a studio in the east end of the city and everyday walk through the city streets. With so many doorways occupied by homeless people sleeping out in the cold and rain, it shows off the worst of the city and can be a depressing start to the day. Walking along argyll street one grey morning I came across a lad feeding the pigeons. I am not a fan of the city pigeons, and donʼt approve of feeding them, but despite this, it made me smile. The young man was entirely engrossed by the birds and oblivious of the busy street. Someone was finding a little bit of joy on a dull morning.”

Micheal Devereux


Tom Manley

A somewhat surreal collage and a response to our perceptions of the city, its ideals and its people. It offers hope for the future whilst not forgetting the mistakes of the past. All the characters here have been photographed within different contexts in Glasgow – the police playing football, a man watching the remains of the Red Road Flats, characters on the streets, are all people photographed in Glasgow and taken out of context and brought together within this landscape in Maryhill.”

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