The power of form standing alone as an artwork is and idea key to Euphrosyne Andrews’ practice. Her work is concerned with the history of ornament, it’s circulation in relation to the multiple and the domestic connotations of ornamentation resulting from the materials that are commonly associated with it. Printmaking processes underpin her work, exploiting the traditional relationship with the multiple alongside the use of unique motifs. She is particularly interested in ornament’s uncertain position within contemporary fine art, and it’s origins. Stemming from a ban of representation in many religions, ornament can be traced through abstract art through to to contemporary art today.
Euphrosyne is planning to move to London in September to take up a place on the Royal Drawing Year, run by the Prince’s Trust. This is a course split between studio practice and taught classes, with the use of print facilities.
Evie Cooper’s work comes from the process of walking and exploring the Ayrshire countryside to encourage thought, using photography and drawing as her main means of recording these journeys. Later on she think about her experiences, and condenses them into her studio work. Thus begins the process of abstraction, taking from walks and breaking down the experiences to push through the process of Etching, Screen Print and sculpture. Each material process serves to articulate a journey through the landscape.
Cooper has received the Glasgow Print Studio Prize 2015. She aims to continue walking and recording her experiences through the printmaking process. She feels she has much more to explore with the rich and diverse media of Etching, Screen Printing and Lithography.
The Glasgow School of Art has provided Cooper with utter freedom, crippling self doubt and at times glimpses of true happiness.
Over the years, Maria Cesa has focused on exploring the theme of portraiture within a contemporary context.
Throughout her time at The Glasgow School of Art, Cesa’s body of work was made up of mostly acrylic and oil; however during her final year at GSA she began to move towards collage in order to abstract her pieces further. Using personal photographs as a source, Cesa experiments with both painting directly from an image or a collage, created using a selection of images.
Cesa has learned that rather than re-creating portraits to exact detail, she should also aim to capture the essence. When materials react and come together in unexpected ways, Maria Cesa finds her work takes on a new direction, leading to new discoveries.
In the past four years Cesa feels she has grown as a painter. Learning new skills and experimenting with various techniques, she has grown in confidence. She hopes to continue developing these skills in the future.
Edyta Majewska portrays her personal background through her practice. Her multi-media presentation allows viewers to step into a discourse with her work and helps them relate and perhaps examine their own problems.
She believes that the opportunity to study at Glasgow School of Art has helped her to produce works at a professional level and also developed her understanding of artistic practices. This developed understanding is reflected in the way in which she examines every day life.
Majewska would like to to collaborate with Glasgow based artists and artists with Polish origins. She also plans to make a step towards directing movies and feels she has developed the passion and skills to do this over the past two years.
Sara Moustafa uses the language of colour characteristically through material investigations. External space is referenced through a visual archive in the medium of photography and reflected in a process of material studies. Strange Familiarity, the work displayed at Six Foot Gallery, is a black and yellow colour study which aims to subtly challenge the viewer. This investigation immediately refers to segregation systems of public space, specifically yellow lines on the road and hazard tapes forming barriers. Moustafa highlights societal divisions by comparing the fragility of colour with dominant industrial materials. Her practice is informed by the thriving flux of construction sites bordering common traffic apparatus with colour co-ordinated boundaries.
After four years studying at Glasgow School of Art Anna Thomson finds herself most attuned to the instinctive process of drawing and painting. Her works are raw and visceral and she uses the immediate nature of drawing to explore her subconscious and perception of self. Thomson considers the body as the centre from which experiences are measured and received. Both personal and universal, her practice aims to express the experiences she finds most enigmatic. She has recently become interested in working with textiles and is currently developing work in her Glasgow studio. Thomson plans to undertake a residency outside of Glasgow in the not so distant future.
Mhairi MacLeod’s work is informed by her frustration at the portrayal of the female form in traditional fine art practice. She feels that women have been presented in a way that makes male dominance and female subordination seem attractive. This has caused MacLeod to challenge this traditional view of acceptable art in her own conceptual art practice.
During her time at Glasgow School of Art, MacLeod has produced an array of work embodying sculptural installation, photography, and painting, relating to ideas of sexism and objectification of the female body. Since graduating she has continued to work with similar conceptual ideas, developing her practice and her interest in the subject of existence. By creating a sensory exploration of the body, MacLeod creates an abstract language developed through personal and intimate experience, enabling her to subvert reality and explore the abstract idea of existence, the physical and the metaphysical.
Alongside exhibiting at Six Foot Gallery, Mhairi is also working with various artists and collectives. She has upcoming exhibitions at the CCA, The Old Hairdressers and Glue Factory.
From 10/07/2015 Six Foot Gallery will be displaying promising emerging talent from around Glasgow and Scotland. The team have scouted the best of 2015’s art school graduates and have brought them together for the annual Best of Degree Show exhibition. This provides the perfect opportunity to see an array of fantastic works incorporating an array of media, materials and fine art practices.
Interested in attending our open night? Find more details over at our Facebook page.
Six Foot Gallery team has selected the best works for our annual Best of Degree Show which showcases the emerging talents from all over Scotland. As we near towards the end of exhibition we would like to thank Sian Smith, Tiina Lilja, Jackie Henderson, Natasha Ferguson, Ellen Love, Nicole McCarron, Samantha Wilson, Lindsay Hill, Thomas Cameron, Angela Mattern and Gezi Yao for their involvement. Head over to Gallery to see some of the works!
We’ve asked the participants about their experience of the Degree Show and how will it affect their future as artists:
So far the Degree Show has been the biggest exhibition of my career and the volume of people who came in to see it was truly astonishing. Getting feedback from viewers of all walks of life, awards that were handed out after a hard year’s work and the opportunities that followed on the heels of the exhibition are worth of all the stress, sleepless nights and self-doubt every graduating artist must go through at the end of their time in university.
The importance of working at a steady, even pace is something I will definitely take with me from this experience. Also the fact that you can never please everyone, I have realised that its important to make work that you are pleased with yourself and hope that others will follow.
The experience of the show itself was very bitter sweet; The relief and happiness of producing an exhibition of work I was proud of was dulled somewhat by the realisation that the past four years of fun, exploration, challenge, hard work and reflection was coming to a close.