Dawn Martin is a fourth-year student at the Glasgow School of Art and is a multimedia artist specialising in ceramics. Her sculptures adapt elements of Scottish history and folklore to explore themes of personal identity. Dawn is particularly interested in the local landscape and the mysteries of the Picts, one of Scotland’s earliest settlers, and she reimagines the legacy they left behind. Her inspiration is drawn from stone carvings and Scottish folklore, as well as from artefacts influenced by animals central to their religion. Mark-making is an integral part of her sculptures, leaving traces that connect history to the present. By using research and subconscious imagery, she makes crucial decisions about composition and colour, allowing her to deconstruct elements of the landscape into reimagined narratives.

See Dawn’s work as part of our annual winter open call exhibition, TRACES, showcasing works inspired by the marks that we leave in our wake: footprints in the snow, the enduring warmth of an embrace, the hollow left in the seat of your favourite armchair.

Hi Dawn! Can you tell us how you arrived at the theme of your work?
I explore themes of self-identity through the lens of Scottish Folklore, inspired by my time spent on student exchange in Vancouver, Canada. After being completely removed from the familiar landscape of the West Coast of Scotland and entering the new terrain of Canada, I learned a great deal about the native history and culture. This trip made me realise that I didn’t know much about Scottish history, and I made it my mission to learn more upon my return. This prompted me to begin exploring early Scottish History, which led me to one of the first settlers of Scotland, known as the Picts and the mysterious legacy that they left behind.

Can you elaborate on the significance or symbolism of the chosen title of your work?
Call of the Morrigan is inspired by Scottish and Irish folklore with the Morrigan
being a Goddess synonymous with themes of war and transformation, often in the
form of a raven. I felt that this was fitting for this piece as I became interested in the
influence of animals as communicators between worlds and ravens are associated
with these ideas.

Can you walk us through your creative process?
Typically my work begins in my sketchbook. I often find myself sketching during downtime and on my travels – these sketches end up influencing the beginning of my projects. From a vague sketch I come up with a general concept, to I can work out any structural issues that might arise, but still not quite knowing all the details of what I’m making (I often figure the details out as I make the work.)

Will your next project be a continuation of your current style or are you experimenting
with something different? Can you share a glimpse of your next project?
Yes, this project is one of the initial stages in the development of a larger project I am
preparing for my degree show at the Glasgow School of Art in 2026. The next steps
involve creating additional versions of these ‘wall heads’ to be part of the installation,
as well as an inspired standing stone featuring engraved tribal patterns. This will
allow me to further explore the themes of ritualistic practices derived from Scottish
history.

What artists inspire you? Are there non-artistic influences such as literature or music
that impact your work?
I find inspiration in many ceramic artists, one of whom is Nicola Hicks. She creates
large sculptures that depict humans as beast-like creatures, exploring the
anthropomorphic relationships between humans and the animal world. Hicks often
uses straw and plaster to give her works a static, sketch-like appearance, effectively
capturing the inner drama of her subjects. Her unique process and the emotional expression conveyed through her subject matter resonate with me as I approach my
own work. Additionally, I draw inspiration from my local environment on the West Coast of
Scotland, as well as from my travels.

Are there any specific advantages or challenges associated with working in your
chosen mediums? Have you experienced with other mediums or techniques?
I love that clay is like a conversation between the artist and the material. It responds
to how I choose to manipulate it and make marks, and then it transforms throughout
the drying and firing process. However, there are challenges to working with clay due
to its unpredictable nature, which requires a lot of experimentation.

Connect with Dawn over on Instagram and see her work in TRACES running at SFG until January 6th 2026.