Next event:
ERINN SAVAGE – Performance
Tomorrow 15:00 GMT

Glasgow

I am delighted to welcome you to The Glasgow School of Art Graduate Showcase 2020. We hope you enjoy our creative response to mounting a physical degree show during the current pandemic. Our digital platform enables us to share the work of our hugely talented graduates at this important moment in their careers.

As a creative community we understand and value the significance of the physical public exhibition, and its importance to the individual practitioner and their audience. Once we are able to move beyond social distancing, the GSA is committed to assisting our graduates as they enter their creative careers, supporting them to develop physical exhibitions which showcase their work. Our support will manifest itself in sponsorship and access to exhibition spaces, and our dedicated team are developing a guidance framework for this next stage as I write. Glasgow as a city thrives on the quality and volume of its exhibition and cultural programming, it is essential that the GSA and its graduates continues to contribute to this going forward and we are committed to making this happen.

The work within this exciting digital showcase represents the culmination of a student’s time with us, their unique creative journeys and signals the start of their professional lives.  You will notice as you scroll through the site exploring the work of our students, that a number of them have linked their work to the National Union of Students’ Pause or Pay campaign and a group of PGT students have chosen not to submit work at this time, the reasons for which are detailed within their personal statements.  We hope that these students will in time submit work and the digital platform has been developed to allow this.  All students can add new work as they complete it allowing them to share with you over the next 12 months the development of their practice as they transition from graduate to professional practitioner.

We invite you to join with us as we celebrate our students, view and engage with their work and reflect on the importance of creative people and creative education in complex and challenging times.

Penny Macbeth
Director, The Glasgow School of Art

Performance Hall Model

Simple model images showing the sheltered walkways around my performance hall.

Performance Hall Interior Render

This render shows the main space of my performance hall, and can be viewed in three dimensions by clicking here (https://api2.enscape3d.com/v3/view/cc22a562-8204-4b8a-9a35-ede98f92963e?fbclid=IwAR0Fd5ew0veZggyi3Fzn1gy2OZkTqbk9DL-7L04rYr4QQgnSsVOP7vVxxxY)

Performance Hall Perspective Section

Performance Hall Site Plan

Library Model 1

Library Model 2

Proposed Location Plan 1:2500

Situated at the bottom of Balloch Pier, the new retreat offers an inclusive for all type of performance art. Surrounded by nature, this allows privacy, creating a peaceful environment to gain creativity - outdoor activity can occur.

Residential Retreat - Model

SISTEMA

Representation of the residential retriet and concert hall for the SISTEMA charity and the local community in Balloch, Scotland.

RESIDENTIAL RETREAT PERSPECTIVE ELEVATION

The view of the retreat is shielded partially by the untamed trees, to give the building a sense of security from those that use the park. The glass of the building creates a visual connection between the interior of the building and Balloch's landscape.

RELAXATION SPACE

A space at the top floor dedicated to people who want to escape from other social spaces. It gives people time to themselves, whilst overlooking the river and the scenery beyond.

The Brief and Site

Site Introduction

'Sea Life Through a Lense'

This image represents my fundamental design goal: how to frame the natural beauty of Balloch. I took my inspiration from those unfortunate sea creatures who are imprisoned in restrictive and oppressive fish tanks in a sea life sanctuary on the loch. Whilst they are so close to the outdoors they are actually prevented from thriving outside in their natural habitat. In human terms I wanted to create a more positive relationship between inside and outside where visitors felt safe and warm inside but were drawn to the views of the loch and nature outside.

The Site Found

1:1000 Site Plan exemplifying the linear relationship between the residential and performance hall venues; imitating the pre-existing railway of Balloch which, its final stop was at the tip of the pier. The progression of a boat from jetty to jetty via both buildings and a canopy shaded pathway on land, shows the multipurpose links and modes of transport available as ways to accommodate the users when moving around the site.

'Portamento'

Mammals and nature co-exist between the walls of the residential retreat, through vast glazing, an indoor / outdoor living experience and materiality and design elements. On arrival visitors will observe a hanging façade of carved natural wood. The flowing, rippled appearance of the wood connects to sound waves created by children inside to the lapping waves of the river made by Mother Nature outside.

INGREDIENTS

1:50 principles of building detailing and mirroring front elevation render

Mornings in the Nest

Portal on the Pier

This performance hall concept serves as the threshold between land and water and is celebrated when music is being played by the residents. The choice of a curving form was precisely designed to imitate the mountainous range in the backdrop as well as the formation of waves, which are surrounding the pier that grounds the hall.

Structural Response to Geometries of Plan - Journey from Urban, through structure, to Natural Environment

Activities Centre Entrance Perspective

Performance Hall Perspective Section

Site axonometric

Perspective section of the retreat

Sections of the performance hall

Perspective of the complex

Perspective of the performance hall

Axonometric structure

The Pedestal

Initial schematic drawing and the development work at 1:2 scale.

Site Isometric

Construction Details

Construction Model

Showcasing the relationship between the brick volumes and timber roof.

Site plan at 1:500 scale

Initial arrival section/ elevation to the site at 1:500 scale

Site section at 1:500 scale

Site section at 1:500 scale

Detailed section and elevation

Visualisations

HF-MCG-01

10.00 A.M. 21st June 2023

10.00 P.M. 21st December 2023

12.00 P.M. 30th November 2023

3.00 P.M. 13th February 2023

6.00 P.M. 11th September 2023

Citadel Communities Block 1 in Proposed District.

The Citadel Community encourages as many domestic, production and commercial tasks to be performed in groups, by providing a variety of large functional spaces that surround a central gathering space - like the layout of Islamic Citadels. The dwellings are organized based on individual and group activities and the many terraces surrounding them provide opportunities to socialize and grow as a community.

Citadel Communities - District in Context.

Glasgow faces the challenge of finding ways to function more sustainably and create less waste whilst housing and providing work for an expanding population. By encouraging communities to live in organized neighborhoods whereby neighbors can support each other with domestic and laborious processes: resources can be shared amongst many citizens and waste can be reduced.

Citadel Communities Block 1 and Residential Cells.

The ‘Acoma Pueblo’ in New Mexico housed a society that lived harmoniously with each other and the natural world. Emphasis is put on spaces where domestic and production activities were performed in groups, these are shared by many multi-level dwellings which are efficiently organized. These layouts have informed the separation of activities in the residential cells of the Citadel Community and allowed more space for public, commercial and production areas throughout all the levels of Block 1.

Citadel Communities - Section through Block 1.

No Ownership Modes: Internal view of the architype R2++.

Four types of housing units were developed. R2++ is a Co-Housing unit on two levels which allows up to 6 double bedrooms.

No Ownership Modes: Layout of Achitypes R2++ and R1.

No Ownership Modes: Long section through Co-Housing and Co-Working components.

Each adult is allotted a Co-Working share. Renting the workspace may allow users to supplement their income during periods of economic difficulty. The proximity of the home to the workplace may improve the way of life of the users, with whole businesses being born through inhabitants working together.

No Ownership Modes: The scheme acts as a gateway to the new public space.

The thesis’ grow from each other and form part of a new social framework in both the private and public realm.

Vessel for Participatory Democracy: Detailed development of the vessel and associated structure.

The ground plane becomes one with the landscape.

Vessel for Participatory Democracy: Ground plan and landscape.

Vessel for Participatory Democracy: First floor plan.

Vessel for Participatory Democracy: Second floor plan.

The administrative offices to support the running of the participatory democracy.

Vessel for Participatory Democracy: Typical upper floor plan.

Vessel for Participatory Democracy: Imagined within the site.

Both schemes are situated in the heart of Glasgow’s oldest district, the Merchant City.

Masterplan Floorplan | Pathway | Rooftop

Cross Section

Section Diagramme

3rd Floor Plan

Living space : the cell

Merchant City - Initial Site Analysis

From the initial site analysis, we identified the lack of social infrastructure in the surrounding area of the site. The project chooses diverse vulnerable groups across society and reforms a part of the city to accommodate their fundamental needs, bringing in the density and services needed to sustain a community and support the surrounding vicinity of our district.

Observing Labour through Play

My project focuses on the needs of workless families, aiming to break the cycle of unemployment by making different models of labour observable to children from workless households and providing parents with the facilities to access support finding a job.

Approach from South-West of Proposal

View of the main public entrance to the proposal looking towards Trongate. The proposal is set back from the street to allow for the creation of a public square in front.

Approach from North-East of Proposal

View of the back of the proposal. All domestic circulation is external and exposed to allow for smaller communities to be formed around the shared front gardens that each serve four flats.

Long Section through Proposal

The long section shows the vertical play area that takes place in the core courtyard of the building. This allows children to observe different modes of labour in the public library on the lower floors and the office spaces within the flats that are placed to face into the play area.

Typical Housing Floor Plan

The flats are split over two levels and interlock to create shared outdoor spaces at the front and back. This front and back garden will be shared between a different set of 4 flats to create smaller communities for shared working and childcare.

Axonometric of Units Stacking

This drawing shows the way the flats interlock to create shared outdoor space on two levels. Each colour represents a different 3 or 4 bedroom family home.

Lower Floor Plan of a Unit

This is a typical lower floor plan of a flat. The design comes from my aim to create housing where domestic labour (primarily childcare) and traditional labour (‘work’) can coexist and complement each other by creating working and childcare communities around shared outdoor space.

Typical Upper Floor Plan of a Unit

This is a typical floor plan of an upper floor plan of a flat.

Working Model Photos

These photos are taken of a model made to work out my initial ideas for a unit that deals with the issues of the relationship between labour and domesticity. I wanted to tackle the question of ‘how can you work from home without feeling like you are working from home?’ My solution was an upper floor that can fold up during the day to create a double height work space on the lower floor. Additionally, the walls between units can slide open to allow for collaboration between neighbours to resemble a more traditional office setting.

01_AXONOMETRIC STUDY_ Existing Site

02_ANTWERP PLAN_ Block ‘Pitting’

03_STUDY MODEL_ Existing Site

04_LOCATION PLAN_ Site//Gentrification Band//Park Spoor Nord

05_CONCEPT MODEL_ Existing Site

06_CONCEPT MODEL_ Cut

07_CONCEPT MODEL_ Carve

08_PLAN_ Ground Floor

09_ELEVATION STUDY_ Repurposed Brick Infill Panel on Timber Frame

10_STUDY MODEL_ Subtract//Add//Reuse

Isometric View

King Leopold II of Belgium in the Congo

Misinformation in Modern Politics

Key Strategies

The Approach

Short Section

Urban Forum

Interstitial Spaces

Experts' Debate Space

The Archive

wolvenberg watergarden

Inspiration is from Junya Ishigamis Biotop watergarden. Trees and puddles create a mesmerising space, where visitors can jump between the stones and explore the flora.

green ring vision

The ring road was built in the 1960’s and replaced the Brialmont fortifications from the 19th century. The ring road is highly dominated by road infrastructure, disconnecting the inner and outer city. However, it has potential of becoming a strategic area in the future city structure, turning into the Green Ring. The City of Antwerp has presented a plan with specific strategies for the Green Ring, focusing on green spaces that connects the inner and outer city, creating habitats for flora and fauna as well as for the people of Antwerp.

brialmont fortifications

To realise the Brialmont fortifications, huge earthworks took place. Soil was removed to make room for the forts and ramparts. Water canals were introduced and had to be dug out. The soil could then be used to build the ramparts. The principles historically used, ground manipulation and water introduction, have become factors informing a new language for the green ring, to bring a sense of what used to be in a present context. source of images: photograph - Natuurpunt Antwerpen Stad, map - Old Maps Online

parks of berchem - existing conditions

A specific site along the Green Ring has been chosen to explore certain strategies, namely the parks of Berchem. The parks include a few traces from the fortification, water bodies, topographical variations and masonry ruins. However, today the parks are fragmented by the ring road infrastructure.

proposal - landscape palimpsests

The method used for developing this project has partly been through landscape palimpsests. Designing through palimpsests is not about preserving the past but to celebrate a collective memory of the site for the users, even if it just provokes a vague mental presence that there used to be something different at this place.

layers

These diagrams shows the layers used to structure the landscape. A superimposed grid, interrupted by the existing water bodies and topographical remains, forms the large scale organisation of the landscape. The ground manipulation and water introduction follows the grid. Desire lines take users across the site whereas meandering paths allows them to stroll in the landscape. The new trees are indicated in orange and strategically placed along the edges to create a buffer between the roads and the park.

manmade landscapes

Antwerp is flat in its topography and the differences in height this section shows are all manmade interventions. The red-dotted line indicates today’s ground condition, and how the thesis proposal further uses ground manipulation to form the landscape.

wolvenberg & brilschanspark

Examples of spaces created with ground manipulation and water introduction.

rainwater & filtration

One of the principles - water - has been introduced in relation to arising issues of urban runoff. Through sustainable urban drainage systems, the landscape forms elements to collect and filter rainwater and recharge the groundwater. The theme of water filtration has informed the program of the building; a bath house. Visitors can enjoy the experience of swinging in pools that are naturally cleaned through gravel beds and aquatic plants. As water evaporates, the pools will be refilled with rainwater collected from the roof. The filtration process becomes a visual part of the building experience and tectonics.

bath house

The Plastic Cycle / The Program

Most plastics on this planet end up in the ocean. Whilst recycling schemes in Europe claim to recycle waste produce, vast quantities of plastcs are actually sold overseas and dumped into landfills or into the ocean. Therefore there is a large requirement to close this system off and ensure that the plastic waste is reclaimed and re-purposed. The program of the thesis aims to provide this service for the waterways of Antwerp, in a way that allows teh public to understand what exactly is happening within their own city.

The Site

The location for the thesis was chosen because of the relation of the existing buildings to the city and the port. The Loodswezen building once was the base of operation for the city's port pilots and stands as physical connection between these two. The site was also significant due to the fact that it is in a promising part of the city, but has never been connected. Throughout its development it as always been separated by canals, trainlines, tramways and roads. As such this was an oppertunity to provide the City with some active waterfront space which could be enjoyed, instead of being hidden away.

Site Location PLan

The location of this site is on the outskirts of the historical city, and the old port. As such this area of antwerp is largely developed and the oppertunity to provide local residents with open living space is small. As can be seen from the location plan, this site provides a large area with access to green infastrcture and is one of very few sites along the entire east side of the river to utilise the riverbank for indiviudal recreation.

Project Plan

East Elevation

Material Study | Detail Section

The project program revovled around the re-purposing of plastics and reducing the waste of the city. As such it seemed like an oppertune moment to explore how construction could also occur with reduced wastage. As such it was the intention of this thesis to explore how architecture could be built at large scales using natural materials and materials from the local area. As such much of the construction is proposed through reclaimed bricks, timber, and rammed earth.

Site Cross Section

Key Spaces & Visuals

Intergen Antwerp is an intergenerational learning facility proposed within one of Antwerp’s many city blocks. Intergenerational facilities have shown to be successful for preventing ageism in children and for fighting loneliness in elderly people, as well as benefiting their respective families. The idea of immediate interaction across the age groups has formed the project’s components, such as a care home and educational facilities, which are linked by the act of collective sharing. The different buildings, which have different levels of privacy, are connected through both prescribed social spaces and by the formation of informal spaces in-between the facilities. By creating spaces that encourage interaction between children and elderly, the first and the last stage of life; a new place for living, learning, and playing is created within the city.

Through explorations in one of Antwerp’s residential areas – the 2060 quarter, a hidden courtyard was revealed within one of its many city blocks. Zusters der Armenplein is an enclosed courtyard containing both communal and private areas: a private area for care home residents, a park, and a communal garden used for growing flowers and vegetables. There are gates situated at each side of the block that lead you through the courtyard during the day, until the path closes for the public during night time. Zusters der Armenplein is an example of many successful city blocks in Antwerp, and the project intends to build upon the existing components and facilitate the interaction between people of different ages.

The organisation of the different buildings, as well as the shape and functions of the connective roof, was explored and developed through a series of models in different scales.

Intergen Antwerp proposes the coexistence of several buildings: a nursery and primary school, an elderly care home, and a learning facility containing both educational and leisurely spaces. The buildings’ separation is a response to the city’s fine urban grain, but each of the proposed buildings are connected through a shared terraced space and the greenhouses covering the buildings’ roofs.

The private; primary school, nursery and care home, and the communal; learning facility and the community hall have several shared spaces within and between them, which is seen clearly on the ground floor level. The leisurely common ground acts as a circulation space, keeping the existing pathway through the block, and is open to the neighbourhood community during special occasions – such as market days. Facilities that can be used by more than one age group, such as a sports hall, art classrooms and media suites have been placed in different buildings to encourage more circulation across the common ground which leads to more interaction across the stages.

While the ground floor level contains more of the communal spaces, the shared terrace above will be used mainly as a playground for children and elderly only. It is accessible from each of the buildings and will act as an extension of the private-shared spaces of each facility, while the void in the middle will guide circulation and bring light down to the common ground.

The facility’s common ground invites the neighbourhood community in during special occasions, such as market days and school festivals.

Uniting the different stages through the process of growing and harvesting, and cooking and eating food is not only a sustainable method of food consumption but also a way to educate children and adults how to source sustainable food in the city.

The buildings facilitate areas that are intended for social interaction as well as encourage the formation of new and more intimate spaces.

1. Ceramics in Context

2. Timeline of Ceramics in Antwerp

3. Site Morphology

4. Nolli Map of Space

5. Site Proposal

6. Materiality Proposal

7. External View

8. Internal Spaces

9. External View

10. Section through Display Box Window

Unfinished Saltcoats Labour Social Club Documentary

Steve Reich / LSO Percussion Ensemble

Using one of the prints produced in the Systematic project, I digitally altered and applied as album and poster artwork that inspired the very pattern of the print. (See 'Phasing I') The album is London Symphony Orchestra Percussion Ensemble’s performance of Steve Reich’s Clapping Music, Music for Pieces of Wood and Sextet; performed on 30 October 2015 in St Luke’s London.

Artwork applied for large scale print

Phasing I

Inspired by the composer Steve Reich, this project explores how the compositional practice of minimal music could be applied and visualised through printmaking

Untitled

Modular woodblocks on the printing press

Phasing II

Woodblock prints on 50x70cm 200gsm Fabriano paper

This item is for sale, please contact for more information.

Systematic

Woodblock print on 50x70cm 200gsm Fabriano paper

This item is for sale, please contact for more information.

Letterforms

Potential letterforms derived from the modular shapes

Lines

Two book covers for Tim Ingold’s ‘Lines: A Brief History’ and ‘The Life of Lines’. These are designed in retrospect of a series I made in the previous year focusing on lines and systematic ways of printing. The covers feature a close crop of lines produced on a letterpress bed, showcasing the lines’ idiosyncrasies whilst the choice of printing also alludes to historic processes and indeed history itself.

Lines: A Brief History

A Life of Lines

Make It Move

Typeform and movement exploration

Frolic (short animation)

Music: Sun Rays Like Stilts by Tommy Guerero

FATHER

FATHER is a book containing works by photographer Harley Weir exploring the complexities and beauty of masculinity. The cover uses bespoke lettering I created for the project highlighted in a pale pink foil, I chose to explore this kind of lettering to evoke the feelings of childishness that resonates with the title along with the rich, sumptuous forms within the content. May 2019

POLLUTED

Polluted is a photo-series that attempts to portray water pollution through the use of chemicals from around the home on film negatives to represent possible contaminants our waterways are exposed to. April 2019.

GIRLS AGAINST

The charitable organisation Girls Against held a competition to design the cover art of their first fundraiser compilation vinyl. I designed the winning entry that consisted of a lino cut design depicting a powerful woman surrounded by grabbing hands. I felt this design was appropriate as the organisation aims to raise awareness and fight against sexual harassment and assault at gigs. August 2018.

LOST

Lost was the penultimate project from my foundation year at Arts University Bournemouth. It focuses on my Granddad’s time in Vietnam and attempts to embody how his alzheimers may have effected the memories of his time there. I chose this particular time period after discovering a scrap book he had made that ducumented his time away with the Army supplying a rich variety of source material pertaining to one particular period in his life. The book utilises blank space along with damaged pages to enhance the curated and edited images to try and immerse the viewer in the disintegrating memories of a person with dementia. May 2016.

upload_11

PERSEPHONE

Persephone was a self directed print making project that resulted in the creation and sale of t-shirts on Everpress. This lino cut attempts to portray the Greek myth of Persephone’s descent into the underworld and her transformation into a queen. August 2019

GARDEN OF CHAOS

Garden of Chaos is a new magazine that aims to showcase Middle-Eastern countries, fashion, art, history and culture to a worldwide audience. This project is still in its infancy with final outcomes still in the process of being refined and developed. The desired logo is intended to be a modern play on Hieronymus Bosch style illustration and medieval Arabic manuscripts creating an intricate sigil for the reader to decipher. Ongoing

WARP AND WEFT

This project portrays the human mind as a delicate fabric prone to fraying creating a metaphor for cognitive disorders such as Alzheimers and dementia. I created a series of woven images from family photos of loved ones with dementia that aim to give the viewer an insight into the issues that come with loss of memory and the subsequent loss of self. September 2019

DAD

DAD is a font that has been taken directly out of the notebook my father keeps to aid his memory and transferred onto the digital plain. It was born out of the observed deterioration of his handwriting as his condition progressed, creating a visual embodiment of the often unnoticed early stages of Benson’s syndrome. March 2020

Mark-Burnett-Film-Stand

A Type of Sound

A Type of Sound Creating a relationship between type and sound. Using the typeface Futura the geometric sans serif typeface which was based on visual elements of the Bauhaus design style of 1919 to 1933. Futura’s simple geometric circles, triangles and squares represent function over form, taking away the nonessential and decorative elements. Working with a local musician Pefkin https://pefkin.bandcamp.com/music to match sound to type and create a sonic typeface, I immediately thought of how soundwaves are graphically represented by triangle, sine, square and sawtooth waveforms. We assigned a waveform to fourteen letters, matching the shape of the letter to a waveform, and created 2 octaves worth of tuned sonic type. With the remaining 12 letters we created more percussive tones, using found sounds. Instruments used include Korg Volca FM, Korg Volca Modular, Doepfer Dark Energy, Korg Kaossilator, Arturia Brute, acoustic guitar, Aeolian Chimes found object sound sculpture, zither, ebow, chimes, hydrophone.. The sounds were treated using reverse reverb, pitch-shifting, backwards loops. Using After Effects the new typeface was animated and combined with the individual sounds to create an interactive typeface that was ever evolving into a new sound or shape with simple overlays, pitch speed and rhythm. Through a significant period of exploration and experimentation the project has evolved from a simple circle, to a sonic, visual and interactive typeface which can be applied in work, play or identity. Mark Burnett Year 4 Com Des – Graphics M.Burnett1@student.gsa.ac.uk

A Type of Sound

Creating a relationship between type and sound

A Type of Sound

Creating a relationship between type and sound

An interactive typeface.

BIKE FRAME BAG

The COVID-19 situation is a crisis and challenge effecting the whole of us. Trough this pandemic creatives had to find new ways of making, marketing and distributing products. These have to provide safety and purpose. Isabell put her own gtraduation collection on hold to help make medical scrubs during the lockdown period. This also led to exploring smaller projects like these commuter bags to provide a product with a deeper meaning and function. Sustainablitly is a key element in Isabells designs. The prototype bags were made out of left over calico, retiered yoga matt, retiered tent fabric and secondhand zips.

BIKE FRAME BAG-

BIKE FRAME BAG

Fashion Collection: Sherpa and the Altidude

Looking at my previous research from a new angle led to a curiosity for the Sherpas in the Himalayas. I want to explore the impact of the commercialization of Mount Everest on the Sherpas, their families and their environment. Mass excursions force the mountain to drown in garbage and their locals to suffer from the impact on their water and ecosystem. But in the same moment there’s the need for heavy tourism to keep their economy going. These conditions put extra danger and responsibilities on the Sherpas. I want to express how a change in clothing and functional outerwear provides the Sherpas with more protection, but conversely increases accessibility to inexperienced or amateur mountaineers with life-saving clothing/ gear. This in turn feeds into the commercialization of high-altitude mountaineering. (Altidude aka. privileged adventure tourist driven by his amateur financial impetus to be one of the best mountaineers in a once in a life time excursion.)

Fashion Collection: Sherpa and the Altidude

Fashion Collection: Sherpa and the Altidude

The Sherpa and the Altidude

The Sherpa and the Altidude

The Sherpa and the Altidude

Glasgow 1980

Videos I put together for 'Work in Progress' exhibition

Research

Initial research behind project looking at poems and old family photo albums

Look 1

Cropped suit jacket inspired by photographs of my mum in the 80s with a white nylon romper.

Look 2

Distorted jacket inspired by photograph of my Grandad with exaggerated high waisted tailored trousers.

Look 3

Exaggerated tracksuit jacket with cut out details exposing yellow nylon lining. Inspired by photographs of my older sisters.

Look 4

Ruched sleeve rain jacket with scarf detail inspired by a Glaswegian football player and the fans scarves.

Look 5

Tracksuit with 70s collar and exposed print detail and distorted flare trousers.

Look 6

Pinstripe shirt with 70s collar and ruched waistband inspired by photographs of my parents in the 70s and 80s.

Line Up

Final Line-up featuring Raymond Depardon's photographs of Glasgow in 1980

Accessories Research

Accessories project inspired by the headscarves and shopping bags seen in photographs of old women in the 80s.

Experimentation Documentation

Development Sketch

(t)ether work in progress

Mockups

Mockups of Final Outcome

Objects in Liminal Space

Documentation of design research in liminal space.

Sculpture of the Machine

Digital computer aided design model of 3D printed sculpture.

Portrait of the Machine 1

Machine learning algorithm image output from self-portrait sequence.

Portrait of the Machine 2

Machine learning algorithm image output from self-portrait sequence.

Uncanny Artifact

Digital computer aided design model of 3D printed sculpture.

Teapot Head

Digital computer aided design model of 3D printed sculpture.

Hand Sketches

Valentine

From 'Conversation' series

Ankita

From 'Conversation' series

'Conversation' series

This series is a study of gestures taken from a set of interviews.

Hand Held

Looking through history, people have labelled different hand positions and movements, through symbolism within cultures and specific moments in time. Furthermore, how people have progressively shifted their hand behaviours through the age of personal devices. Our hands have adapted physically to its new demands. Taking selfies and holding a portable device in your hand has become the new norm and what body language culture has spawned from this era.

LeftLeft

A cast of a left hand which has been 3D modelled and then laser cut

“What do you think about ghosts?”- 1

series is the study of people's hand movements when responding to the question “What do you think about ghosts?”.

“What do you think about ghosts?”- 2

This series is the study of people's hand movements when responding to the question “What do you think about ghosts?”.-

Patterns of Play-

Print of a match between Rafael Nadal and Rodger Federer in the 2008 Monte Carlos final.

Patterns of Play Documentation video

Video documentation of how the artist created his work, exploring the technology and thinking that went in to finalising the piece

Patterns of Play

Still image of the prints on display

Patterns of Play

Image of how the prints compare to live tennis matches

Motion Capture Tennis

A motion capture experiment of a point between Rafael Nadal and Juan Martín del Potro in the Wimbledon 2018 Quater-Final

Michael (desktop computer) displaying the Chrome extension that replaces technology related words such as computer, machine, CPU etc. with their humanised counterparts.

Screenshot of the same extension replacing words on a webpage.

Sample of the extension's code done in Atom.

Screenshot of extension working on webpage.

Processing sketch that causes a popup to appear on screen whenever there is an attempt to close the window.

Rust

When we take images using our phones we typically take them in bursts and select the best ones for social media. This is explored in Rust where taking a memorable day from her own phone she has used machine learning to generate artificial beach imagery to imitate existing memories which she has planted within the grid of a camera roll. As we scroll through our camera roll would we notice that false images had been placed amongst the burst? What else could be suggested to us?

Jamais Vu

In Jamais Vu images are generated based on social media status updates which others have publicly reposted and shared through memory apps. These images were then framed and staged within her own home as sentimental photographs would be. The frames are placed above artificial flowers next to a family clock which has stopped working. While the scene may seem ordinary in passing, on closer inspection may appear odd.

Wire Experiment

Wire Experiment

Proposed Sculpture (untitled)

Genesis, Neuromancer, Gamer Theory - framed prints

Genesis - detail

Sixty Minutes in Minecraft - detail

Sixty Minutes in Minecraft - framed drawings

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Machine learning/trained print

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Print

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Print

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Print

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Print

Beyond Flatpack Culture: Towards a New Ecology of Modularity

3D printed models

Age of Experience

EEG-VR wearing concept / Illustrator

Age of Experience

Virtual garden illustration / Illustrator

Age of Experience

Virtual garden illustration / pencil, colour pencil

Age of Experience

Virtual garden / Unity

Age of Experience

Brainwaves / Muse lab

Hosting Focus Groups

Through hosting creative activity-based workshops, I have been collecting honest, first-hand experiences from young people in relation to their mental health. Using the information gathered from these activities and discussions I determined 3 key themes; medication, barriers to accessing support and stigma. Using these themes, I have been developing a series of works.

Medication

From discussions that took place during the focus groups, it became evident that young people consider mental health support and care to feel very clinical. In particular, participants commented on feeling ill-informed, anxious and confused about the use and role of medication on their treatment. This work is a visual interpretation of these discussions. Using machine learning to generate fictional medication names, I have been designing and assembling my own medication packaging. My intention is for this packaging to be convincing and mistaken for real prescription medications, thus highlighting how trivial and alien medication names, and the role of such medications, can feel to a young person.

Barriers to Accessing Support

For this study I have been working with one young person to develop an augmented reality application that communicates some of the barriers they have encountered when accessing support for their mental health. The main challenge this young person faced was consistently relying on telephone communication to access such services – something they found impossible due to the nature of their anxiety. Using the AR application, audio and animations are activated when visual triggers are detected. These visual triggers are fictional correspondence inspired by the real correspondence the young person received - one of the most significant being a self-referral card. While a self-referral system might seem practical for service delivery, and can even seem insignificant to others, it can be a huge barrier to some users who need to access the service. In this work I hope to communicate the emotional implications of such systems and how they can be counter-productive for young people in the treatment of mental ill-health.

Stigma

Stigma is still a significant barrier when it comes to young people talking openly about their mental health. When a young person experiences stigma they can begin to feel their mental health condition defines who they are. Using the Tobii eye-tracker and Processing I have been developing an interactive installation that features video interviews of three young people talking about their experiences of mental ill-health and associated stigma. These video interviews are initially distorted with stigmatising phrases the young person has experienced. When the eye-tracker detects that someone is gazing at the display the video becomes less distorted – and the user begins to ‘see’ the person beneath the stigma and hear their story.

“Everything it would appear is a process through time and to make sense of it we have stories"- Donald Smith

RECEPTION

STORYTELLING DOME

In this space users can tell their stories and myths to an audience, the space is based on the idea of telling stories round a campfire. The dome structure bulges out of the building and its visible from the exterior. This allows users to see the sky and feel connected to their surrondings.

LIBRARY

users can browse tales of Scottish mythology, there are also headphones built into furniture which allow users to listen to recordings of the tales. The structures of the furniture are inspired by Beira, King Angus and Bride.

BALCONY

built into the roof of the building, the balcony protrudes out of the building.

ELECTRONIC DRAWING SCREEN

users can create pictures inspired by the stories they’ve heard/read, the pictures will stay visible on the screens for half an hour.

ARCHIVES

in this space users can both create stories to add to the digital archives and browse the archive using I pads. There are screens which display stories from the archives dotted around the space and they change throughout the day

RECORDING ROOMS

users can record their own stories which will then be added to the archives and played through a speaker in the Water Platform situated in the river

CUBICLE

the design for the cubicle doors mirror the design of the greenhouse at the peoples palace which is situated within the park.

WATER PLATFORM

"anytime that is a betwix and between is the faeries favourite time, they inhabit transitional spaces like the bottom of the garden: existing in the boundary between cultivation and wilderness, or at the edges of water, the spot that is neither land not lake, neither path nor pond."-Brian Froud

INSIDE WATER PLATFORM

stories users have recorded in the recording rooms will be played through a speaker. A lot of Scottish mythology is based around water so it is important users connect with the river.

GARDEN//

EXPLORATORY ARTEFACTS//

Message

visual

Contract

video

Concept Video

video

Longitudinal Section

visual

Floor Plans

visual

Elevations 2D

visual

Sauchiehall Street

visual

Renfrew Street

visual

Residential Floor Plans

In this six storey building. The first five floors are dedicated to a range of sizes of flats to accommodate a variety of tenants.

The Corridors

A main design feature throughout the shared spaces in my design is curved walls. Curved walls are softer on the eye and the doorways located between the light voids and the external storage acts as a natural boundary between public and private space and giving them a feeling of “indoor streets”

The Light Voids

Natural light was an important factor when designing the layout of this building. I wanted to give more attention to spaces which are normally disregarded when designing residential buildings. Light voids down the centre of the building allows me to avoid having narrow dark corridors and gives the space more purpose rather than just being a pathway to get from A to B.

Materiality

Choosing materials which are sustainable, durable and affordable was important when designing this space. After researching lots of examples of previous social housing in Glasgow, a common theme was poor material choices which lead the buildings to fall into disrepair. The materials used throughout the building are easily maintained, within a reasonable budget as well as being environmentally friendly.

View Through a Light Void

Section of the Corridor

Often in new residential buildings, there is a lack of personality with every doorway only being distinguished by a number. To avoid this, and contribute to easy navigation of the building, I chose to incorporate different coloured doors as well as the curved design creating the opportunity to personalise your doorway personal belonging.

Social Space

To encourage community living, the top floor of the building is a social space which provides entertainment for tenants of all ages. These facilities include a games room, a play area, a gym, a library, a communal laundry and an indoor walkway full of greenery and natural light.

Indoor Walkway

This indoor walkway is a space for tenants to come and relax or take a walk when the weather isn’t so great. It is flooded with natural light from the large windows that surround the entire top floor and skylights in the roof.

Gym

As this housing scheme aims to provide people with a healthy life a gym in provided on the top floor to encourage tenants to keep fit and healthy.

Play Area

Often in flats there is not enough space for young children to run around and play, which can often cause tensions to run high when living in a confined space. This open space with visibility from the walkway allows parents to socialise while keeping an eye on their children playing.

Title Page

Floor Plan

Ground Floor Plan

Project Concept Poster

Concept poster for The Wheatsheaf Hotel and Cook School, which expresses brand ethos and materiality.

Axonometric Drawing

An axonometric drawing of The Wheatsheaf, expressing the zoning and spatial arrangement of key spaces.

Visual of Corridor with Void

View from the second floor corridor, looking down through the void onto the entrance and cook school.

Materiality of Key Spaces

Detailing of the cook school, reception and corridor spaces.

Site Context

Section View

Plan View

Entrance

Feature Wall

Waiting Area

Changing Rooms

Sauna and Steam Rooms

Ramp Water Feature

Pool Room

EXTERNAL VIEW

Formerly a primary school this building now houses the most cutting edge teenage hub in town. This iconic building in Polloshaws has been totally transformed and brought back to life to serve the younger generation once again.

GROUND FLOOR PLAN

This ground floor plan reveals the true size of the building which once served 500 pupils.

SECTION AA

This section AA cut unfolds the first steps of the users journey. Entering the space they will be greeted by natural light in the atrium which will navigate the users through a dynamic open plan space leading onto different floors to their desired activity.

RECEPTION

The atmosphere of the reception has been achieved by bringing the aspect of natural materials and light into the space, making a more welcoming and stylish environment for teenagers.

JUICE/ SANDWICH BAR

The design of this former assembly hall/dining space is inspired by the original features such as arch windows and red and white concrete grid ceiling. This space now serves the purpose for the users to meet new friends and enjoy a quick snack either to wait for their scheduled activity session or to just chill.

RELAXATION/ GAMING AREA

This space forms the heart of the building. The purpose of the design was to create the connection between all the users attending activity sessions and users just wishing to relax. This has been achieved by removing the first floor ceiling in order to enlarge the space to accommodate the activity pods which are accessed from the first floor.

GRASS CHILL OUT AREA

Along with the floating activity pods the raised grassy area forms one of the main features of this space. This area is designed to interpret the feeling of being outdoors offering different types of seating. Surrounding this area there are also swing seats, hammocks hanging from the ceiling and bean bags. This takes into account the different personalities and needs of each user.

MUSIC ZONE

This area offers a comfortable and varied seating space accommodating larger groups. The users can either play instruments or simply listen and enjoy the atmosphere. The timber structure offers privacy from the hammock mezzanine floor above.

GAMING AREA

The design of this area compared to the rest of the space is more open to provide enough movement whilst playing various games. Bean bags are stored beneath the stairs for easy access for users who wish to take part or watch the games. The mezzanine above also provides a panoramic view taking in all the different dynamics of the floor below.

STUDY ROOM

This front elevation reveals the double-height ceiling of the space and the bold and powerful design is to attract the users attention to encourage them to study.

I. DISCOVER

My developing research publication, Mass Extinction, discusses the decline of liturgical practice in Glasgow within the spatial context of Gillespie, Kidd & Coia's post-war ecclesiastic inventory. Driven by the reinvention of the Catholic Church in the wake of the Second Vatican Council, Modernist-influenced structures were generated as tangible examples of the reinvented liturgical dynamic. Their current status, however, is mostly as poorly maintained and somewhat dilapidated structures with a severe lack of public appreciation. A rejection of both religious activity and modernist technique has left nearly a quarter abandoned or destroyed with many more facing socio-economic difficulty.

II. DEVELOP

The [ongoing] design response is via adaptation of one such site, St. Charles Borromeo Church, into a learning centre for the circular economy. Structurally, adaptive reuse as itself a form of circularity; questioning every element of materiality through both reuse of the waste stream generated and any new, introduced material sourced from within the peri-urban region. Discussing circular principles applied to the existing material, concrete is the most challenging; hence, concrete becomes, in effect, 'consecrated' in situ, a defined rule that it must remain entirely without alteration. The infill brick masonry has been removed and regurgitated into a new internal structure - the threshold of interiority is redefined whilst creating spectacular visual permeability into an environment previously fraught with conformity and privacy. Yet, the form of the original construction is maintained. The new insertion is monolithic yet intimate - it distills a learning process for circularity into principles of education, application and fabrication allegorising with the tripartite existence of spirit, soul and body. To receive, to animate, to incarnate. Thus, the building becomes an incubation of it’s theory: a catalyst to promote, define and direct sustainable intervention. A project that decrees that liturgical intervention can be more unique, more aggressive. In fact, with the present situation, it has to be.

Footage of live renderings as a real scene.

Sunrise Over the Bridge

Morning sun with a haze over the lights.

Spire Overlooking

Through the glass onlooking the spire.

Wide Angle Join

Kelvinbridge wide angle.

Marble Interior

Design interior with a white marble finish.

Neon Glow

Reflections of the neon lights.

Structural Underside

Kelvinbridge underside modelled.

Piano Player

Pedestrian underside of Kelvinbridge with crowd.

Misty Rain Entrance

Late evening stormy weather with a busy street peering into structure.

Luke J J White - white-luke-10

DIASPORA TYPEFACE


Diaspora is a display font exploring Italian immigration to Scotland between 1880 and 1920. A diaspora emerged to such an extent that the Scot-Italian became recognisable as a fully fledged persona encompassing characteristics of both cultures. Diaspora expresses these hybrid identities of Italians who immigrated to Scotland. This is translated by the addition of seven alternates for the letters A, E, M, N, T, U, V and W. To underline the concept of immigration by the means of type-design, the traditional and iconic aspects of lettering from both countries are emphasised. While having their own characteristics, Diaspora’s letters are designed on a single basis structure, helping to create a harmonious set. Each user can develop their own identity of the font using alternates. Diaspora is available on request through the GOODEGGS Type Foundry website: [www.goodeggstypefoundry.com](www.goodeggstypefoundry.com); or you can drop us an email to hello@goodeggstypefoundry.com

GSA PROMENADE 2018


Poster and catalogue produced for the final showcase of The Glasgow School of Art’s MDes Fashion + Textiles course. Produced in collaboration with Orlando Lloyd, the design seeks to focus on the exhibition but communicate additional elements including the process behind garments and designers that are closely connected to the course.

OK BOOKLET


Publication project using written works from German visual artist David Roeder. The brief required the design of an affordable publication that could accompany the artist’s exhibitions. Employing extreme care of the books typography, the rhythm of reading and above all the use of different layouts, the project is a sober but captivating publication outcome.

GOOD EGGS GROTESK


GOODEGGS GROTESK is the house font of the homonymous type foundry. Designed with Apolline de Luca the type is once again the result of a long research project between the two designers. Inspired by the type Venus, released by Bauer 1907-1914, the font follows the characteristics of a grotesk whilst adding the foundry’s personality and principles: serious with a touch of friendliness.

MY PERVERT ABC BOOKLET

A trashy take on the designers classic alphabet book investigating the theme of pornography and perversion. While being ironic and playful, the book investigates hidden anthropological elements. Each letter of the alphabet represents one of the most extravagant categories of online pornographic videos. The letters are designed to have a connection with the category or images to which they refer and all the images are strictly derived from screenshots of existing videos. All elements and materials used are designed to highlight aspects of the concept and are the result of a process of playful and intuitive experimentation. Browsing the book, the reader could be intrigued by the categories they discover and in finding the connection between the design of the letter and the image and/or category. Get your copy at [GOODPRESS (UK)](http://goodpress.co.uk/design-graphic-design/my-pervert-abcbooklet- by-alessandro-prepi-sot)

DIASPORA SPECIMEN

Designed with course mate Alessandro Prepi, the specimen is printed on newspaper paper on a tabloid format creating a direct connection with their research. Indeed, the two designers researched extensively through library archives, and newspapers were a focal point. The specimen presents the whole project, from the story it tells, to the technical parts of the font right through to examples of the font in use.

diaspora-specimen-2-lo

diaspora-specimen-3-lo

Shenzhen Urban Villages Project - Booklet

Shenzhen is one of the largest and fastest-growing city in China. Shenzhen had a population of only 310,000 in 1979, and now the number has reached 20 million, showing a 65-fold increase, while Shenzhen's GDP has increased by 12000 times from 196 million in 1979 to 2.4 trillion. Yet, in 2019, the largest urban village in Shenzhen was demolished through a renovation project. As the city is now rebuilt and restructured, will the urban villages survive? A lot of people come to the villages and a lot of people leave; it is a transient space. Whilst living in the one of urban villages in Shenzhen for two months, I took photographs, spoke with others living there and recorded daily life. Some told me they would go home this year, and some said they wanted to earn more money and stay for another year or two. Many people come here searching for something. High house prices make the majority of outsiders choose to live in urban villages such as this. While the location is excellent and the prices cheap. the houses in urban villages have very little living space and the environment is very poor. I wanted to know why people come here and what are their dreams. My publication acts as a document for the people I met in a small corner of the urban village.

Shenzhen Urban Villages Project - Drafts and Sketches

My exploration of using different materials and narratives in Shenzhen Urban Village Project.

The 13 Rooms Projects

During the two years I have lived in Glasgow, I have been to the rooms of many Chinese friends. Whilst we live in similar student apartments, each room is very different showing the inhabitants character, hobbies and life state. These rooms carry important social function. Access to a individual’s room can be a more direct and in-depth understanding of a person. I chose to depict Chinese student to explore the Chinese student living experience, which starts from the first day to the end.   Before the COVID-19 situation become truly serious, I visited the rooms of 23 Chinese students, interviewed them and made some observe drawings of their rooms. It helps me build up a connection with others. A lot of Chinese students don't integrate into the local study and social life, I questioned many Chinese students about their lives and social situation, my finding showed that most want to communicate with international students, but there are many individual and complex reasons stopping them from sharing deep feelings and emotions.   Now, many Chinese students are no longer residing in Glasgow and have returned to China making it difficult to continue my research. I hope this project can be a small bridge to share some of the emotional stories of my Chinese student community. While this project has not been completed, the drafts and story line continue to be developed. Here is a selection of works in their draft stages. As the project develops I will update this website page and its contents.

Daily Window View Observation

In the last two months, I have been isolated in Glasgow alone. As we’re all unable to go outside, I can only draw the views outside my window. I watched the sky and buildings, and I found the clouds and sky are never same, they are changing every moment and each day, I record them. I seldom watched the same scene again and again hadn’t realised these daily and very simple things could be so beautiful. Drawing these views has immersed me in peace and removed my anxiety. I hope to draw these views and record this special moment, when I return to China, I can also take this memory home. And I do hope to share it.

Drypoint Experiments

In these drypoint works, I explored the possibilities of changing the texture of the works, which can make a special atmosphere. May 2019

Collage Works

Selections from my quick and improvised daily collage work, July 2019

Digital Drawings

This part includes a little series named a little lonely man and my exploration of narratives using screen-based colours.

Sketchbooks

Selections from a series of sketchbooks, 2018-2020

Artificial Intelligence (AI) Face

AI_Face examines the consequences of Artificial Intelligence on our perception of beauty.

Artificial Intelligence (AI) Face

Artificial Intelligence (AI) Face

Vaporwave

A coming of age story for generation Z.

Adolescent Girls

A series of images reflecting the trials and tribulations of life as a teenage girl.

Lion Grove Garden

A comic book inspired by the stories behind the famous Chinese formal garden.

The Stories behind Lion Grove Garden

The Empty Vessel

The Empty Vessel series, a collection of representational vessels, visualises and embodies the way grief takes from the individual and how we build around the space left behind. Clean white architectural forms become projected aspects of self, deemed appropriate for outside consumption. Inside an absence is present. The absence is the embodiment of grief, carried internally, its weight becomes perceptible in the physicality of the vessels. These corporeal forms become the embodiment of self creation in the face of the void. As empty vessels we traverse the spaces we occupy as representations of formed bodies. The ceramic forms relate to one another, standing alone but remaining interconnected in their expressions, just as grief isolates the individual whilst injecting them into a fundamental shared aspect of the human experience.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

The Presence of Absence

The Presence of Absence collection continues on from The Empty Vessel series. Following the journey of moving past grief and the absence left within. These vessels have complementary forms that slot together, completing the exterior and creating a whole form. Striving to create a perfect aesthetic resolve, painting a mirage of a formed and complete psyche. The absence that grief maintains as a presence in our psyche, extends outwards and has not only emotional implications but also material and social ones. The void reshapes and redefines our reality. As individual pieces each still occupy the role of The Empty Vessel but when put together they contain the absence within, allowing their external qualities to find a full form. The addition of the blue tubular appendages reference the unaffected personality, the raw emotional state of the individual. They hold close in embrace the exterior of the white slab vessels. They act in support of the affected form, adding a further dimensionality to the perceived complete object.

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This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

hannah-m-1

As part of the developmental stage a series of experiments were carried out to explore the creation of content through emotional engagement, intending the designs to be emergent not prescriptive. Material and visual experiments were utilised to push the themes of physicality throughout the work further. They maintained a degree of form to continue the idea of a present absence. A high degree of abstraction was involved in the design, to retain some ambiguity and a vague suggestion of the ideas. This allows the viewer to shape their own emotional response to the pieces more freely without outside dictation.

hannah-m

01. Am I a Graphic Designer?

Research on the conceptual pillars of graphic design, documented in form of an 8,000 word essay that includes an interview with the GSA Com Des professors. The information collected from the interview was transformed into ‘data sculptures on wheels’, visualising each of the interviewee’s opinions on contemporary graphic design. The data was placed on wheels to allow for interactivity usually only reserved for digital spaces. For more project details and images, please visit www.zzzzarko.com.

02. ‘How Motivated Are You?’ Installation

A data installation consisting of a series of helium balloons positioned in space and colour-coded to convey information. Participants were asked to report their daily motivational levels scaled 1 (lowest) to 5 (highest) for 10 consecutive days. The data was translated into helium balloons communicating the given values both through their color and position in space. A postcard decoding the data values was given to the audience. For more project details and images, please visit www.zzzzarko.com.

03. 3D Data: What Are You Afraid of?

A didactic, interactive information design piece consisting of an infographic board, three-dimensional representation of data made out of wood, and an instructional booklet designed to lead the audience through the exercise. The 3D Data project is an inquiry into the field of information visualisation, aiming to translate data into a physical object you can interact with and learn from. For more project details and images, please visit www.zzzzarko.com.

04. Alphabetic Kanji

A typeface that re-imagines the Latin alphabet into a logographic-alphabetic hybrid system, communicating meaning both through individual letters as well as the unique shapes that they create when combined into words. The project was inspired by the Japanese Kanji as well as Korean Hangul script. The typeface design was based on the traditional ‘shoji’ door grid, thus later translated into wooden sculptures. Developed as part of the exchange to the Tokyo University of the Arts. For more project details and images, please visit www.zzzzarko.com.

05. ‘Com Des Salon’ Poster Sculptures

A sculptural poster series developed as part of the research into the effect of three-dimensionality on the traditionally two-dimensional field of graphic design. The posters are made out of over 500 laser-cut acrylic pieces that were hand-assembled and manually attached to painted wooden backgrounds. The topic of the posters are the ‘salon’ meetings that the Com Des Master’s students have organised to exchange ideas. For more project details and images, please visit www.zzzzarko.com.

06. Data Objects

A series of found product design objects that were transformed to express the functionality of graphic design by communicating data through their form. Each object was altered through color and typography to inform the viewer about statistical information, helping them imagine outcomes and possibilities of the data shared. The objects were measured, marked and spray painted manually. The typography was vinyl cut and applied by hand. For more project details and images, please visit www.zzzzarko.com.

07. Sculpture as a Written Language

A series of typographic sculptures that communicate meaning through their form, based on the Japanese logographic Kanji written language. Building on Joseph Kosuth's 'One and three chairs' & Eric Ku's 'CHAIR', the project uses the form of product design to express communication design, translating meaning of Kanji characters beyond Japan through their appearance. The work was developed as part of the exchange to the Tokyo University of the Arts. For more project details and images, please visit www.zzzzarko.com.

08. TYPE AS SCULPTURE

A series of sculptural typographic work that aim to visually express abstract thought processes often employed in design thinking such as ‘ideation’ or ‘streamlining’. The sculptures were created by laser-cutting wood into letterforms, and manually assembling them into abstract narratives. The created objects continue on the exploration of ‘type as image’ by using the unique interaction of sculpture and space that changes with different viewpoints to tell a visual story. For more project details and images, please visit www.zzzzarko.com.

09. HOW TO RECOGNISE FAKE NEWS

A series of isometric Kanji illustrations that follow the International Federation of Library Associations and Institutions' guide to recognising fake news, developed as an homage to the Japanese designer Shigeo Fukuda famous both for his activist designs, as well as his love for optical illusions. Each keyword was translated into Japanese, illustrated using an isometric grid and paired with an abstract illustration connecting the elements into a whole. Developed as part of the exchange to the Tokyo University of the Arts. For more project details and images, please visit www.zzzzarko.com.

Media bias and Polarization. Part 1 Face posters

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Media bias and Polarization. Part 2 Hong Kong book

Since March 2019 there have been a series of protests in Hong Kong. And media outlets provide very disparate narratives of their motivations. Because of these reports many people's opinion on these protests have been extremely polarized. The book collects news headlines from Pro-China media and Pro-Protester media throughout the protests offering readers an opportunity to make a comparison with different depictions of the same subject. At the same time, it highlights the influence of media and its role surrounding controversial events causing polarization.

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Photo book (Material experiment)

This photo book is an experiment which trying to the possibility of physical books. Compare with digital reading, different books can provide readers with different touching feeling by their material. As the most important sensation of human, I think touching could be an interesting factor to be considered during the book design and helps the emotional expressing. I made my photos in this photo book. The photo that I selected was taken at the moment that I felt depressed and lonely. I hope the book itself can also show the fragile inside of me. I made plicated foil cover board as the book cover and use very fragile tissue paper inside. The contrast of touching is conspicuous which can prompt reading experience and expressing the emotion.

Photo book (Material experiment)

The project was an exploration of the possibility of physical books. Compared with digital reading, physical books provide readers with different material experience. Touch could be considered the most emotional sensation of a human being and I believe touching is an essential factor to be considered during book design to help the emotional expression. The photos selected were taken at moments I felt depressed and lonely and the book aims to convey a fragility inside of me on those occassions. The foil cover board cover and the use extremely fragile tissue paper gives a contrast when handling prompting an unusual reading experience and expressing further emotions.

Photo book (Material experiment)

Science Fiction Editorial Design

“Black Box” is a science fiction short story by Jennifer Egan. The story is in the form of "mental dispatches" from a spy in the near future and was emanated on Twitter meaning each chapter is very short due to the platform’s limitations. The project was an exercise in both matching layout to features in the story with only black and white printing applied to convey tension and coldness throughout the story and the choice of decoration and illustration helps provide an immersive reading experience

This item is for sale, please contact for more information.

Science Fiction Editorial Design

This item is for sale, please contact for more information.

DIASPORA

Diaspora is a display font representing Italian immigration to Scotland between 1880 and 1920. Indeed, a diaspora emerged to such an extent that the Scot-Italian became recognisable as a fully fledged persona encompassing characteristics of both cultures. Therefore, Diaspora expresses the hybrid identities of Italians who immigrated to Scotland. This is translated by the addition of seven alternates for the letters A, E, M, N, T, U, V and W. To underline the concept of immigration by the means of type-design, the traditional and iconic aspects of lettering from both countries are emphasised. While having their own characteristics, Diaspora’s letters are designed on a single basis structure, helping to create a harmonious set. Each user can develop their own identity of the font using alternates. Diaspora is available on request through our type-foundry website: [www.goodeggstypefoundry.com](www.goodeggstypefoundry.com); or you can drop us an email to [hello@goodeggstypefoundry.com] (mailto:hello@goodeggstypefoundry.com)

GOODEGGS GROTESK

GoodEggs Grotesk is the institutional font of the homonymous type foundry. Designed with Alessandro Prepi, the type is once again the result of a deep research of the two designers. The project is inspired by the typeface Venus, released by Bauer, 1907-1914.
If on the one hand the font follows the characteristics of a grotesk Apolline and Alessandro had their own take of a grotesk adding the foundry's personnality and principles to it: serious with a touch of friendliness. Letters are designed following the counterparts which are rounded like an egg. Therefore all letters kept friendly curves while still having a modern/neutral grotesk style.

WORLD’S KITCHEN

A cookbook gathering recipes and the stories behind them from all over the world. Sharing food and recipes seems to commune people together. This idea is translated into a visual object allowing the reader to discover a culture through its cuisine and directly from a native. Additionally, the book unfolds an array of statements. Stories in the books are generally shared by people away from home either permanently (migrants), temporarily (students) or indirectly (migrants’ children) showing how the migration of people enriches countries. The memories shared around the recipes shows how cuisine is a way to (re)connect to our roots and to feel like home. Food has the power to hold memories as is exemplified by Proust’s madeleine.

FIESTA!


A modular display font for parties’ posters.

DIASPORA SPECIMEN

Designed with course mate Alessandro Prepi, the specimen is printed on newspaper paper on a tabloid format creating a direct connection with their research. Indeed, the two designers researched extensively through library archives, and newspapers were a focal point. The specimen presents the whole project, from the story it tells, to the technical parts of the font right through to examples of the font in use.

This item is for sale, please contact for more information.

diaspora-specimen-2-lo

diaspora-specimen-3-lo

PAUSE OR PAY CAMPAIGN

The Dick Pic Project: Submission Cards

41% of British women aged 18-36 have received an unsolicited dick pic.1 Through open submissions over the past two years people have been sharing their stories, experiences, and images of cyber flashing, which have been retold and represented through explorations across different media. The project aims to create discourse around this rarely discussed yet prevalent issue, as well as providing a platform for victims to take ownership of their harassment. 1 Smith, M. (2018) YouGov: Four in ten millenials have been sent an unsolicited penis photo

This work may contain graphic imagery, Click to toggle blur.

thedickpicproject.com

The website functions as a platform to show all the images, stories and animations made throughout the project, whilst also having sections that provide practical information and direct victims to support services. The design of the main page bombards the audience, playing on ideas of consent. Although the content warning is clear, when exhibited at GSA in October 2019 the work still caused controversy and was censored by senior management. Surprisingly for an institution where one of the core values is ‘disruption’, the project has often faced knockback from staff, who have encouraged a more metaphorical approach. This has called into question how much influence the male gaze still has on today’s society – even within the art school.

This work may contain graphic imagery, Click to toggle blur.

Penis Etchings

At the start of the project the images were developed in different media, considering whether presentation of the work through traditional methods of making would elevate the subject matter. Throughout the project theories of art and pornography were examined and challenged, both from the artist herself and her wider audience. Etching and printing the unsolicited dick pics immortalised them from throwaway, transient images into works of art. The traditional and highbrow status of the medium instantly elevates the work. Working on small individual plates allowed multiple images to be printed alongside each other, alluding to a carefully curated photo frame.

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Penis Stitches

The embroidered pieces draw instant connotations with feminine and tactile craft: the soft threads and muted colours encourage the viewer to touch the work, and create a tension between the message and the medium. Unsolicited dick pics are often sent via social media platforms such as Instagram and Snapchat, where they disappear once viewed. In contrast to this, the permanent and labour-intensive processes of etching and embroidery preserve what we can assume were intended as temporary records of sexual harassment.

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On The Bus

Taking the work back into the digital sphere referenced the origin of the photos, as well as creating a digital campaign. On The Bus is deliberately made to be viewed on a phone – the same device where images are usually received. Instagram has regularly censored the project work, even though it isn’t in breach of the community guidelines. This is part of a wider issue that sees the platform dictating what sexual content is deemed ‘appropriate’ based on patriarchal ideals and misogyny. Interestingly, there are rarely consequences for the men sending unsolicited dick pics via the platform.

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Unsolicited Sketchbook

Drawing was always the starting point throughout the project, with sketchbooks acting as an archive of all the submitted images. Friends and complete strangers shared their varied stories with complete honesty, trusting in the artist as confidante.

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Flesh Vases

In her stand-up act ‘Nanette’, comedian Hannah Gadsby discusses Pablo Picasso’s misogyny, deriding his cubism as “putting a kaleidoscope filter on your dick; painting flesh vases for your dick flowers”. After initially considering what these would look like through a series of drawings and prints these ceramic “flesh vases” were made. The forms represent conventional Western beauty standards, with the male vase deliberately larger and more dominant. By removing the head, and turning the body into an inanimate, functional object, the human form is reduced to purely aesthetic qualities.

Zwischen Tag und Traum

Illustrations for a publication based on a text by artist David Roeder.

Forgotten: Royal Park Primary

Royal Park School was bulldozed by Leeds City Council in 2014, after almost a decade of campaigning and fundraising to turn it into a community hub. The space has been empty ever since. The work aimed to challenge the traditional ideas of a comic, and see whether it could successfully function without the inclusion of any characters or written narrative. The use of repetition and aspect-to-aspect transitions act as visual prompts for the reader to infer their own meanings and storyline.

Pause or Pay UK

As a graduating student from GSA I would like to state my support for the Pause or Pay campaign. Please read their full manifesto on their website: pauseorpayuk.org

Throughout 2019, millions of young people took to the streets to protest for their right to a future. No other year has seen such a rise in awareness on the topic of climate change, with the issue being brought loudly to the foreground by public demand. From February 2019 to early 2020, I documented the climate strikes in Glasgow, Edinburgh, London, and Italy, working closely with the organizations as a volunteer photographer. I focused on the stories as much as on the photography, aiming to crystalize my personal experience of the events by writing in the same way I was doing with the images by shooting. The result is a detailed, firsthand reportage where images and words are tightly connected, currently waiting for a space to be published.

FRIDAYS FOR FUTURE - Turin, October 2019

Die-in in Turin, Italy, October 2019. Young people lie on the ground of Via Roma, while a passerby cyclist stops among the bodies and tries to figure out what is happening. A young student walks back and forth in the street reading a Fridays For Future pamphlet with a megaphone. A mum is lying side by side with her two kids, the youngest being barely 3 years old. They check on their mum once every few seconds, then check the others. They’re excited, but they try to stay serious. ‘Like this?’, they ask. [Continues]

BLUE WAVE 2 / ARE WE NEXT? - Glasgow, March 2019 / February 2020

Left: On Leap Day 2020, XR Glasgow organized the secondo Blue Wave event of the city. Silent as the rising sea levels, step by step, centimeter by centimeter, just like water does, the Blue Brigade walked slowly from the bridge towards the people gathered in the Clyde Amphitheatre. Then proceeded leading the march through the city center of Glasgow, all the way until Buchanan Street steps. Right: Kelvingrove Museum, 3pm. Kids and parents together under the gigantic skeleton of Dippy the Dinosaur. Grandparents, too. To the sound of a violin, the signal, everybody lay on the floor. Under Dippy's skull, several kids turned around and around holding a sign reading: ‘We Are on the Midst of the Sixth Mass Extinction’. They were silent, the kids. Many were dressed as animals, or with animal masks. Some had dinosaur toys. They lay down for about twenty minutes, holding signs and banners on their chests. The banners were reading: ‘Are we next?’ [Published on The Guardian]

INTERNATIONAL REBELLION II - London, October 2019

“He had been playing since it all started when they began moving everyone out of the road. When the arrests began he didn't stop. One song after the other, he was accompanied to the sidewalk on one side just to turn back at the last moment and head to the opposite side, back and forth from where the people sitting on the road were waiting to be arrested. A bright sunny day in London, and in the middle of the road he was cheering everyone up, and making the police desperate because who wants a violin to stop playing? Back and forth, eyes fixed on something only he could see, and a rejuvenated smile every time he paused and people clapped for him beyond the police line. Making his difference, one tune at a time.” [Continues]

HOLYROOD REBEL CAMP - Edinburgh, June 2019

In June 2019, despite Scotland’s PM Nicola Sturgeon declaring the climate emergency, the Scottish Parliament set the country’s target date to become carbon neutral in 2045. According to the IPCC report, radical change is required before 2030 in order to avoid massive ecological disasters. I spent four days camping in front of the Scottish Parliament in Edinburgh with Extinction Rebellion, documenting the actions aimed to raise awareness about the inadequate climate bill and the climate crisis.

HOLYROOD REBEL CAMP - Edinburgh, June 2019

“The truth is, there's a new generation rising. It's a generation that is openly questioning the rules that have been set by culture and tradition because these things belong to borders, and they are questioning borders, too. A generation that recognizes its privilege in being born on the lucky side of the planet during the climate crisis, a generation that is willing to give up commodities for equality, and maybe it's not ready to do so, but it will. [...] A generation that understands the importance of saying no, that is often at least bilingual, that's given up trying to explain itself to the adults but has not given up the fight for the world they’re going to inherit from them. You'll find them in the streets, chanting. You'll try and make them feel stupid, to humiliate their naïve goodwill, you'll chatter about their hypocrisy. Game-changers, they are. Because they will listen instead of getting angry, and they'll be ready to correct their mistakes if you're right, and they'll do better. Then they'll look at you and ask: and you, how can you help us?”

INTERNATIONAL REBELLION II - London, October 2019

Left: Central London, 6am. As part of the strategy or peaceful disruption, XR activists occupied public parks and organised well-structured campsites, with an open kitchen, toilet area, regenerative zones, and assembly tents. Stewarding was coordinated by Extinction Rebellion, while additional police force was monitoring the camp. Right: A teenage girl in the process of being arrested during the protest in Millbank, central London. XR activists are educated on their rights, as well as in non-violent behaviour in case of arrest, before taking any kind of disruptive action. Refusing to move means having to be physically handled by police when carried away.

INTERNATIONAL REBELLION II - London, October 2019

“They already had everyone move from the road except for those who were staying knowing that they would get arrested. The crowd was singing from the bank of the Thames beyond the police line, when this mother with two children passed through and they run straight to him. Police were busy removing the locked on people from the caravan a few meters away. They had their moment there, in the middle of the road right in front of the tower. I thought about getting closer but I didn't want to listen. That was a private moment and all the press was already filming them from the front. So after this picture I put my camera away and just observed from afar. Eventually the mother came and took them away. As they were leaving, sun shining on the concrete, I see the younger one turn from his mother's arms. Slowly, silently, among all the noise and rush, he blew a kiss to his dad and waved. It was the first moment in five days I had to stop and find my balance again.” [Continues]

INTERNATIONAL REBELLION II - London, October 2019

Protesters gather in front of the BBC headquarters in central London. A spontaneous rebel assembly takes place, with people from the public taking the microphone and speaking to the crowd. Among the speakers, a former policeman introduces his thoughts with a candid assertion: ‘Some of you may think it is strange to have a police officer involved, but a big part of our job is protecting people’. Accustomed to my home country’s history with police brutality, XR’s relationship with police, regularly questioned within the movement itself, interested me deeply. [Continues]

INTERNATIONAL REBELLION II - Bank Junction, London, October 2019

“It was just a little girl, playing. People watching her with a smile. I took this picture when she finally stopped running, laughing. ⁠⁠Then you zoom out, and you see people sitting on the ground on tarpaulins, jackets, cardboard. Zoom out, and you see a roadblock, women and men standing up under the rain, holding banners. One reads, climate struggle = class struggle. There's some singing and someone passing home-baked biscuits around. Zoom out, and there's a city with some disruption going on. A few points where the stream is disturbed, there's honking and some shouting maybe, all these busy lives protesting because they're late, oh they're going to be late. And you zoom out and you see a country busy sorting out a mess that someone wanted and someone else didn't. Pick your year. It could be any, right? But you zoom out, and it's not something you've seen already. Outside the country, up north, ice melting and the oceans growing higher. Draught south and people fleeing, their feet on burning sand, hot air exasperating survival, as if famine and war didn't do their job anyway. You see a big white animal, thick skin and a horn on his nose and that breath he takes, that's the last. And after him a bird, then a swimming creature you don't know the name of, and another bird, and another, and another, and you're there, watching. Zoom out at last and you see a planet spinning and a mass of smoke covering south America because oh, you don't want to see. You really don't want to see. ⁠You stop. Maybe you panic. This is too big, right? Just too big.⁠ But then you zoom in. And when you zoom in, it's just a little girl, laughing. And you remember who you're doing this for. And you roll up your sleeves, take a picture, and get back to looking for solutions. Whatever it takes.”⁠

THIRD GLOBAL STRIKE - Glasgow, September 2019

A group of school students lead by a young student playing the bagpipe joins the crowd in Kelvingrove Park for the third Global Climate Strike. About 12,000 people participated in the strike, an impressive number if compared to the few hundred of the first strike in February. From Kelvingrove Park, strikers (families, students, elders, workers) marched through the West End and all the way to George Square, in front of the City Council. The youth strikes in Glasgow are autonomously organised by students under the age of 18, who plan the route, the actions, stewarding and police liaison, speeches, and so on.

SCHOOL STRIKE FOR CLIMATE - Glasgow, February 2019

Since the very start - the now famous ‘Skolstrejk för klimatet’ banner - young people declined the use of a systematic set of visuals and started designing their own banners, placards, and wording. The results fascinated the whole world for their straight-forwardness, wit and very often clever sarcasm. Although the best examples of the strikers’ creativity can often be found in the most simple designs.

How to talk about plastic in a guiltless way? How to adamantly refuse it without being judgemental, how to expose our misusing it without the use of shame? ‘The Age of Plastics’ is a campaign for an imaginary exhibition held in 3048, in a world where plastic is part of a faraway past and its use has to be guessed.

THE AGE OF PLASTICS - MARINE HUNTING DEVICE

The year is 3048. All plastic production was stopped on Saturday 22nd, February 2020. In 1028 years, the world has changed. Humans survived, but they have little knowledge of how society used to be. They have to guess from what remained. Mostly... plastic.

THE AGE OF PLASTICS - CAMPAIGN

An awareness campaign providing the context of an imaginary exhibition to show plastic under a different light. Giving up the way we are used to think, we are invited to have a second loot at it with the curious eyes of a plastic-less version of this same planet.

THE AGE OF PLASTICS - PLACEMENT

Placed where people have time to stop and read: bus stops, subway boards. Shared online as a form of storytelling, creating expectation, desire to discover the next common object as described by these unbiased people from the future. Exposing our irresponsible use of it, but without blame, without shame. Starting the conversation.

THE AGE OF PLASTICS - STORYTELLING

A campaign offering the audience a vision of the world where plastic is seen for its remarkable features and not only its terrifying quantity. Based on a solid research, all the objects chosen are classified for their real composition, and all the facts mentioned or suggested are taken from true statistics.

THE AGE OF PLASTICS - AIM

Telling a story: what’s the real value of the things we are used to throw away. Suggesting that common objects are used by common people. Thus, it is from common people that radical change can be ignited.

bartolucci-leda-19

As a graduating student at the Glasgow School of Art, I would like to state my support for the Pause or Pay Campaign. Pause or Pay was established to unite studio-based courses and highlight to our HEIs and the UK Governments that the mitigations for our issues due to the pandemic are not yet enough. Find more at ​www.pauseorpayuk.org​ / @pauseorpay

Product Poster

Poster detailing the main features of the EasyShave product.

WorkLed

The lamp offers three light settings - Task Mode, Auto Mode, and S.A.D Mode.

Product Overview

A breakdown of the critical components, functions and interactions of the product.

User Journey

A guide to the user interactions with the product.

WorkLed S.A.D Mode

Morning before 11AM. In the vertical position, S.A.D. lighting is automatically timed for 30 minute exposure, providing proactive light therapy. Alertness, performance, mood and sleep quality are improved.

WorkLed Task Mode

The adjustable arm provides illumination for desk-based activity over the working area.

Touch Interaction

Whilst the light is in the vertical position, the user can choose between on/off, Auto Mode and S.A.D. Mode by simple touch interaction. Auto Mode provides ambient smart lighting by varying depending on the surrounding light levels.

Autosteam

Perfectly textured milk at home, without the effort. AutoSteam achieves this with its preset wand positions that are designed to inject steam at the perfect position to create a vortex in the jug. This is essential in producing perfectly textured milk, with silky smooth microfoam, every time. The steaming time is controlled by a thermometer built-in the drip tray, so all the user needs to do is fill their chosen jug with milk to the indicated level and move the wand into one of the preset positions.

BICYCLE CLEANING AND MAINTENANCE PROJECT: SELF-CONTAINED BIKE STAND AND BIKE MAT FOR INDOOR USE.

PRODUCT READY FOR USE

PRODUCT READY FOR STORAGE

PRODUCT OVERVIEW

USER JOURNEY

Nanode

A portable solar powered battery.

The Shroom Shelter

Design Features

Installing the Shroom Shelter

Sapling Growth within the Shroom Shelter

Mycelium Prototype

Project Poster

Final year PDE project

Final Prototype

Completed, functional prototype of the slope inclinometer and compass.

Avalanche Equipment

The Final prototype alongside other essential avalanche safety equipment.

User Testing

Testing of the prototype was carried out at Nevis Range by multiple potential users.

Inspiration

Interesting Shadows Inspired my Initial research

Scribble Cup

Creating shadow inspired utilitarian objects.

Deconstruction

The notion of deconstructed vessels; re-constructed with laser cuttings.

Dissected Vessels

Copper spun vessels; re-formed and dissected.

Twist n’ Stretch

Silver vessel Design

Development

Samples and Sketches of vessels

Parametric Models

Thinking through making models. Inspired by Parametric design.

Parametric Set

Set of three vessels. Silver, Perspex and Wire. Designs created using parametric processes and showing the evolution of traditional and modern technologies.

Parametric Samples

Laser cut Perspex and Jesmonite samples. Exploring Parametric Aesthetic.

Parametric Vessels

Silver Textured Vessels. Designs created using parametric processes.

Scott-Tracy-04

Perspex Sculptures and Vases

Price: ££35 - £40

This item is for sale, please contact for more information.

Kinetic flower ring

Oxidised precious white metal, swarovski crystal, cintrine. 45 X45mm. Ring size M

Price: £650

This item is for sale, please contact for more information.

Chambers-Hill-Celeste-02

18ct gold filagree flowers

Gold flower ring

18ct gold filagree ring

flower earrings

Precious white metal filagree earrings with pink tourmaline and citrine gemstones size 100 X 40mm

Price: £750

This item is for sale, please contact for more information.

flower earrings

Precious white metal filagree earrings with pink tourmaline and citrine gemstones size 100 X 40mm

Price: £750

This item is for sale, please contact for more information.

flower earrings

Precious white metal filagree earrings with a pink tourmaline gemstone

Price: £750

This item is for sale, please contact for more information.

Oversized earring

silver and Bio-resin oversized earring

oversized necklace

silver and Bio-resin necklace clasp

oversized necklace

silver and Bio-resin. Pendant 205 X 105mm Chain 655mm

feminine face

silver and Bio-resin filagree face

Dive 1

Inspriation

Dive 2

Sketch

Dive 3

Work in progress

Dive 4

Necklace_ silver with gold leaf

Dive 5

Necklace_ silver with gold leaf

Dive 6

Bengle_silver

Dive 7

Cylinder_silver

Dive 8

Necklace_oxidised silver with gold leaf / sketch of back side

Dive 9

Sketch_rings

Dive 10

Work in progress_ ring_oxidised silver with gold leaf

Inspiration

Mussel Cluster

Milroy-Christine-03

Repetition

Watercolour Sketchbook Designs

Work in Progress

Composition

Mark Making

Pin sample

Brahma

Triptych of 3D printed nylon and precious white metal bangles, can be hallmarked, inside circumference 220mm, width 16mm

Price: £ Individual bangle £624, as a set of three £1500

This item is for sale, please contact for more information.

PLA 3D print and copper bangle prototype

Marduk

Porcelain and precious white metal brooches, dimensions are different for each brooch, averages at 30x40mm

Price: £ POA

This item is for sale, please contact for more information.

Ilmr

White precious metal hoop earrings of repeated 3D scanned and printed noses, can be hallmarked, 30x25mm

Price: £388.20

This item is for sale, please contact for more information.

CAD model of hoop earrings

Dioscuri

White and yellow precious metal earrings of AI generated face, can be hallmarked, 40x20mm

Price: £453.56

This item is for sale, please contact for more information.

Janus

White and yellow precious metal earrings of AI generated face, with peridot stone setting can be hallmarked, 30x10mm

Price: £436.68

This item is for sale, please contact for more information.

Afarit

White precious metal and yellow plated precious metal earrings of AI generated face, with citrine stone setting can be hallmarked, 40x10mm

Price: £484.32

This item is for sale, please contact for more information.

Mimir

White precious metal and yellow plated precious metal necklace of AI generated faces, can be hallmarked, length 400mm, width 10mm

Price: £923.04

This item is for sale, please contact for more information.

Collection of fine jewellery

Sketchbook development

Laser cut perspex models

Perspex models showing slotting technique

Cardboard model which was then made in silver

Napkin ring model

Napkin ring models

Small vessels

Perspex base with a silver vessel upon it

Growing, the spirit of line

precious white metal (could be hallmarked)

Price: ££365

This item is for sale, please contact for more information.

Wire experiment

work in progress

Wave

precious white metal (could be hallmarked)

Price: £POA

This item is for sale, please contact for more information.

Wave (final design)

sketch of an idea for larger piece

Body and love (final design)

sketch of an design

Price: £POA

This item is for sale, please contact for more information.

Body and love (detail)

work in progress

Natural, line and surface (process1)

sketch

Natural, line and surface (process 2)

work in progress

Natural, line and surface (process 3)

work in progress

Experiment with filigree and plique-à-jour

work in progress

INTERACT

Brooch, Sustainable cork, laser rubber, steel pins, 80mm x 30mm

Price: £POA

This item is for sale, please contact for more information.

Sustainable cork, acrylic. 70mm x 60mm x 28mm.

CONTRAST

Plaster, synthetic sponge. 65mm x 35mm

Digitally developed shape palette

Sampling natural and synthetic dyes

ILLUSIVE

Sustainable cork, hand carved, 70mm x 60mm x 28mm

Digital mock up

INTERCEPT

Example of one digitally prepared surface pattern. Acrylic components interact seamlessly.

Digital mock up

TOY WITH

Detachable brooch, sustainable cork, acrylic, steel pins. Surface pattern hand drawn using pyrography method. 105mm x 65mm x 20mm

1-Isla Cruickshank, Logie Brooch, Duck egg Inlay and Brushed Brass, 60mm x 8mm, £200

Price: £200

This item is for sale, please contact for more information.

Newton Brooch in Quail, 50mm x 12mm, £165

Price: £165

This item is for sale, please contact for more information.

Isla Cruickshank Newton Brooch in Burgundy, 50mm x 12mm, £165

Price: £165

This item is for sale, please contact for more information.

4- Isla Cruickshank, Caldow Brooch, Eggshell Inlay and Brushed Brass surround, 40mm x 8mm, £120

Price: £120

This item is for sale, please contact for more information.

2-Isla Cruickshank, Sauchen Necklace, Araucana egg Inlay and Brushed Brass, 60mm x 8mm, £155

Price: £155

This item is for sale, please contact for more information.

3- Isla Cruickshank, Sauchen Necklace, Quail Inlay and Brushed Brass, 60mm x 8mm, £155

Price: £155

This item is for sale, please contact for more information.

Strachan Pin, 30mm x 14mm, £75

Price: £75

This item is for sale, please contact for more information.

Isla Cruickshank Caldow Brooch 40mm x 12mm £120

Price: £165

This item is for sale, please contact for more information.

Duck egg Inlay earrings

Price: £45

This item is for sale, please contact for more information.

Quail Inlay earrings

Price: £45

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Araucana Inlay earrings

Price: £45

This item is for sale, please contact for more information.

Raw Material

Various eggshells

Samples

Plaster, oysters, lobster, eggshell, toast crumbs and gold leaf

Forever Feast

Porcelain slip cast lobster feast

Price: £75 each

This item is for sale, please contact for more information.

Salt and Pepper pot

Bronze cast egg shell, food patinated Brass, jesmonite, oysters

Porcelain, Bronze and lobster

Porcelain and precious white metal

Trio of Salt Spoons

precious white metal, Jesmonite, Qail, Duck and Araucana eggshells

Price: £80 each or £240 collectively

This item is for sale, please contact for more information.

Teaspoon and Salt spoon collection

precious white metal, Jesmonite, Qail, Duck and Araucana eggshells

Price: £Teaspoons, £120 each, Salt spoons £80 each or collectively £600

This item is for sale, please contact for more information.

Porcelain Plates

Price: £90.00

This item is for sale, please contact for more information.

Teaspoon and Salt spoon collection

precious white metal, Jesmonite, Qail, Duck and Araucana eggshells

Price: £collectively, £600

This item is for sale, please contact for more information.

Cloud Drawings

Sketchbook

Fantasy

Copper,Spray Painting.

Cloud

Copper,Spray Painting.

Fluffy

Copper,Spray Painting,Opal.

The moment of sky

Copper,Spray Painting,Opal.

Capture Sky

Copper,Spray Painting, Brass mesh, Cotton.

Soft Sky

Copper,Spray Painting, Brass mesh, Cotton.

Progress

Copper,Spray Painting, Brass mesh, Cotton,precious white metal.

Cloud sample

Copper,Spray Painting, Brass mesh, Enamel.

Journey

Process composition

Daytrippers

Samples visualised within a fashion context

Hue

Colour sequencing exploration

Stay in the shade

Samples visualised within a fashion context

Motion

Jacquard woven fabric simulation

Take a seat

Samples visualised within an interior context

Hung out to dry

A series of jacquard woven fabric simulations

https://www.pauseorpayuk.org

A1 Print

Sketchbook Pages

Anorak Visualisation

A1 Print

Paper Drawings

Youth Visualisation

A1 Print

Digital Collages

Jogger Visualisations

Print Manipulation on Technical Fabric

Screen-printed Japanese cotton, hand-cut and bonded onto silk organza for a 3D effect.

Screen-printed Japanese cotton, hand-cut and bonded onto silk organza for a 3D effect.

3D zigzags created by manipulating screen-printed cotton.

Screen-printed and manipulated Japanese cotton.

Screen-printed and manipulated Japanese cotton.

Digitally printed bamboo with a repeat pattern inspired by Japanese woodwork and origami.

Katazome - a traditional Japanese dyeing technique which involves applying resist-paste through a hand-cut stencil.

Digitally printed silk habotai top, with original research drawing of Japanese tatami flooring.

Digitally printed silk habotai in contrasting patterns inspired by Japanese temple floors.

Digitally printed silk habotai with a 3D folded effect, inspired by origami.

Primary reseach

Exploration of shadows using 3D drawings

Development sampling

Development sampling

Embellished samples

Sample visulisation

Sample visulisation

Pleated sample

Research

Research produced using microscopy and collected insect specimens

Drawing and Development 1

Drawing and colour work with samples

DRAWING AND DEVELOPMENT 2

Drawing and colour work with samples

DRAWING AND DEVELOPMENT 3

Drawing and colour work with samples

Mackinnon-Jonathan-05

Drawing and colour work with sample

Visualisation 1

Final sample visualised in a contemporary fashion context

Mackinnon-Jonathan-07

Final sample visualised in a contemporary fashion context

Visualisation 3

Final sample visualised in a contemporary fashion context

Visualisation 4

Final sample visualised in a contemporary fashion context

Visualisation 5

Final sample visualised in a contemporary fashion context

Climb

2019, Giclée Print 60 x 45cm, Edition 1/5 Framed

Price: £Contact for price

This item is for sale, please contact for more information.

Dip

2020, Giclée Print 60 x 45cm, Edition 1/5

Price: £Contact for price

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Edge

2020, Giclée Print 60 x 45cm, Edition 1/5

Price: £Contact for price

This item is for sale, please contact for more information.

Omission

2019, Giclée Print 64 x 85cm, Edition 1/5 Framed

Price: £Contact for price

This item is for sale, please contact for more information.

Flip

2019, Giclée Print 60 x 45cm, Edition 1/5

Price: £Contact for price

This item is for sale, please contact for more information.

Chamber

2019, Giclée Print 60 x 45cm, Edition 1/5

Price: £Contact for price

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'Gaps between Gaps' Exhibition

Stallan-Brand, Glasgow March - April 2020

'Climb' - Installation

'Gaps between Gaps' Exhibition

Price: £Contact for Price

This item is for sale, please contact for more information.

Generated Worlds

Randomly generated worlds coded in Python

Husband Frame #1

Husband Frame #2

Magician Frame #1

Husband

Magician Frame #2

Wife Frame

Husband Model

Works in Progress

Magician's Head

Magician's Head

Stillness that Arises from Movement

49,5 x 32 cm photo polymer, intaglio print, 2020

This item is for sale, please contact for more information.

Earth Wound

49,5 x 32 cm photo polymer, intaglio print, 2020

This item is for sale, please contact for more information.

MIND MAP I

51 x 67,5 cm embossment print, 2019

This item is for sale, please contact for more information.

MIND MAP II

31 x 44,5 cm embossment print, 2019

This item is for sale, please contact for more information.

Topographies of Self

33 x 70,5 cm digital collage print, 2020

This item is for sale, please contact for more information.

Ben More looking over Stob Binnein

38,9 x 57 cm digital Inkjet print, 2019

This item is for sale, please contact for more information.

Recording of a Journey. Glasgow to Ben More, Crianlarich

25,5 x 34 cm intaglio print, 2019

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River Veins

100 x 152 cm digital inkjet print, 2019

This item is for sale, please contact for more information.

Munro Wandering

100 x 152 cm digital inkjet print, 2019

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Bend Till You See Your World Upside Down IV

70 x 210 cm digital inkjet print, 2020

This item is for sale, please contact for more information.

Not Lost Just Somewhere Else series.

Digital Image. 2019.

Not Lost Just Somewhere Else series.

Digital Image. 2019.

Not Lost Just Somewhere Else series.

Digital Image. 2019.

Not Lost Just Somewhere Else Installation.

3x Backlit Film Print on Electroluminescent Light Panel & 4x Speakers. 2020.

NOT LOST JUST SOMEWHERE ELSE & ACHERONTIA INSTALLATION.

3x Backlit Film Print on Electroluminescent Light Panel, 4x Speakers & 2x Slide Projection. 2020.

Acherontia Development.

Slide Projection. 2020. Text by Patrick Süskind – excerpts from the novel Perfume.

[ ] series.

Resin & Acetate Print. 2019.

Price: £500

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[ ] series.

Resin & Acetate Print. 2019.

Price: £500

This item is for sale, please contact for more information.

[ ] series.

Resin & Acetate Print. 2019.

Price: £500

This item is for sale, please contact for more information.

[ ] Installation.

3x Resin & Acetate Print. 2020.

Alternative Guide for Walking: Photographs

Alternative Guide for Walking responds to the outdoors as a space to discuss identity politics and community-based making. The project resulted in a publication, which included photographic and written work, produced both independently and collaboratively, whilst walking between Arrochar and Inveruglas. Each outcome included in the publication was made in response to a series of guidelines written by the group before the walk, which provided construct and intentions for making whilst walking. The overall project focused on providing new narratives and removing old preconceptions surrounding walking, forming a new outlook towards our environments and community groups.

Price: £on request

This item is for sale, please contact for more information.

Alternative Guide for Walking: Photographs

Alternative Guide for Walking responds to the outdoors as a space to discuss identity politics and community-based making. The project resulted in a publication, which included photographic and written work, produced both independently and collaboratively, whilst walking between Arrochar and Inveruglas. Each outcome included in the publication was made in response to a series of guidelines written by the group before the walk, which provided construct and intentions for making whilst walking. The overall project focused on providing new narratives and removing old preconceptions surrounding walking, forming a new outlook towards our environments and community groups.

Price: £ on request

This item is for sale, please contact for more information.

Alternative Guide for Walking: Publication

Black & white digitally printed 40 pages publication, perfect bound with soft cover, 12 x 20.5cm. A collaboration with Jess Hay, Sofie Keller and Silke Zapp. Originally presented at the Lunchtime Gallery, 2020. Writing within set guidelines and whilst producing photographic imagery forms new variables in language compared to writing freely. The text included within this page is a response to the following guideline: ‘When the space allows it, each split off and take as many steps as you feel necessary. Find a space for yourself and write a reflection on your surroundings.’ This pocket-sized guide has been designed to be recreated by others, which includes the guidelines towards the end of the book, so that others are encouraged to reconsider new forms of walking. This collaboration is a continuing project, with its next iteration being a public walk that invites others to walk with us and further expand the conversation.

Price: £ on request

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Something Now

A bare hand lifts to wipe screen-printed words from a glass surface with saliva as the glass swings back and forth, leaving a murky cloud of ink. Within this short moving image, the easy removal of language, memory and the fragility in emotion are each contemplated. With a strong focus on the layout and surface of the text, the flat perspective seen in the work forms a midway between a written or photographic work and a sculpture.

placeholder for a power of sorts ii

Silicone cast antlers, 23 x 63cm. These antlers cast in silicone lack the structural integrity of their porcelain counterparts, placeholder for a power of sorts i, creating a clear juxtaposition that reflects the removal of power, and fragility. Considered within this are the themes of gender politics, hunting, and ritualism.

Ropewalk (Stills)

A collaboration with Sean Kemp, consisting of a 20 minute performance and a sculptural installation at the Garment Factory, as part of the group show Hopelessly Devoted, 2019. Surrounding the ritual creation of a rope, Ropewalk is a dialogue focusing on the dynamics of power and migration. This work foregrounds the process of traditional rope-making methods, demonstrating the act of making as an act of healing. The movements constructing the rope are accompanied by spoken word and throughout both actions, the concepts of constraint, bonds and navigation are discussed.

Ropewalk (Stills)

A collaboration with Sean Kemp, consisting of a 20 minute performance and a sculptural installation at the Garment Factory, as part of the group show Hopelessly Devoted, 2019. Surrounding the ritual creation of a rope, Ropewalk is a dialogue focusing on the dynamics of power and migration. This work foregrounds the process of traditional rope-making methods, demonstrating the act of making as an act of healing. The movements constructing the rope are accompanied by spoken word and throughout both actions, the concepts of constraint, bonds and navigation are discussed.

Ropewalk: 609 Swallow

Black vinyl lettering, 2 x 13cm. Alongside the live performance, Ropewalk included a series of site specific installations of vinyl lettering. Throughout the building, a series of numbered swallows were placed in unsuspecting places, such as bathroom sinks, stairwells and lifts. The swallows are an indication and reflection of the script performed, to which the act of swallowing and the bird in migration are two pivotal motifs.

Scripts, or manifestos

Screen-printed textiles, each 74 x 270cm. Scripts, or manifestos is a five part series following a longer exploration of displaying language. The works are made to be activated by viewers, through being read aloud and turned on a hand built metal wringer, which allows the text to be read from either side by two viewers. Within this work, there is a consideration towards how language develops when read together, compared to being read alone. This is pertinent to the critique of broken systems, both within institutions and throughout political hierarchies, included in the text. The language reflects upon personal experiences as well as a universal human condition, written over a ten month period. It has developed through other forms of printed mediums and sound works.

Pause or Pay Campaign

As a graduating student at the Glasgow School of Art, I would like to state my support for the Pause or Pay Campaign. Please read the manifesto here: www.pauseorpayuk.org

Hold I

Athens, July 2019

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Watch

Agafay Desert, Morocco, December 2019

Across III

Marrakech, December 2019

Sailing Heart

Vinyl Lettering - Triptych of poems installed at Waterstones Sauchiehall Street store, for Hawk collective group Show: Glider, March 2020.

Intimacy

Vinyl Lettering - Triptych of poems installed at Waterstones Sauchiehall Street store, for Hawk collective group Show: Glider, March 2020.

Blood Moon's Kiss

Vinyl Lettering - Triptych of poems installed at Waterstones Sauchiehall Street store, for Hawk collective group Show: Glider, March 2020.

Breathe

A video encompassing spoken word upon themes of vulnerability and our admittance to hurt. This honesty lets us move forward from loneliness. November 2019.

Convergence I

Morecambe, November 2019

Do you remember?

A thoughtful walk manifested through a combination of still images and words. May 2020

Observe

Milos, July 2019 As exhibited at Waterstone's Sauchiehall Street at Hawk collective's show Glider, March 2020

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Searching Waiting Found Doing Nothing Again

Vinyl Lettering installation in the glass elevator of Waterstones Sauchiehall street store, as part of Hawk's collective show Glider, march 2020

Bursting Stars

Vinyl Lettering - Installed poem in Waterstones Sauchiehall Street store from Hawk collective's show Glider, March 2020.

Couple by the Orange Trees I

Marrakech, december 2019

Depth and Quiet, 2019

As exhibited at New Glasgow Society West with Hawk collective's first exhibition, November 2019

Altar

Digital Photograph, 2020

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Bittersweet Escape

Photographic Documentation of Cocktail, 2020

Rückenfigur

Digital Photograph, 2020

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The Elixir of Quietude

Photographic Documentation of Cocktail, 2020

Mind

Digital Photograph, 2020

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red lorry, yellow lorry, blue car

3x3 grid of photos from the photography series ‘red lorry, yellow lorry, blue car’: a collection of over 100 photographs of red, yellow and blue cars together in and around Glasgow taken over 3 years. “Over the past 3 years living in Glasgow. When walking around the city, I’ve been spotting red yellow and blue cars all parked together in an array of different ways and circumstances. From vans, to minis, from lorries, to limos. These three colours of vehicle have been spotted all over this great city time and time again. For me personally when spotting these cars, I tell myself it is a sign of good luck and good things to come, as if the universe is looking out for me and has my back just like the three colours do” – extract from the zine

Price: £Available on request

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selection of zines

A selection of zines I’ve made throughout my time at GSA including: ‘BMX’, ‘I sneez in my sleep vol. 12’, ‘2-0’, ‘favorite is my favourite’, ‘grass ceiling’ (with captain arm band) , ‘bye bye wimbo’, ‘no signal’ and ‘red lorry, yellow lorry, blue car’.

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The craziest gang member #4

Oil pastel and Crayola crayon on A2 paper. a collection of drawings of vinny jones taken from panini and merlin sticker books from when he played for Wimbledon fc. all drawings done in crayon and oil pastels. Also made into a zine and made back into stickers.

Price: £Available on request

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rhine-cone #1

A no waiting cone covered in 30,000 red, yellow and blue rhinestones on a rotating turntable.

Price: £Available on request

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bye bye wimbo, banger car 2

Colour film photograph taken at the last ever banger racing event at the Wimbledon stadium. Has been printed for exhibits in Glasgow and London scaled up to 107cm x 164cm.

Price: £Available on request

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sports direct sculptures

Acrylic paint on Air drying clay and glazed. 15cm x 16cm x 3cm (box) 10cm x 1.5cm (pen) A series of items that sports direct sell made out of clay and then painted. I have started this series during quarantine and am planning to keep on making more including sports direct playing cards, hot water bottles and extension leads.

Price: £Available on request

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ball #3

Felt tip pen on A4 yellow paper. 1 of 6 drawings of classic footballs drawn into rectangles.

Price: £Available on request

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no signal #7

Felt tip pen on canvas 12cm x 18cm. 1 of 12 drawings of a series of felt tip drawings on canvas about frustration taken from tv screens, computer monitors, projectors and other crap tech that i couldn’t get to work. Also made into a zine.

Price: £Available on request

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the craziest gang member #4

Oil pastel and Crayola crayon on A2 paper. a collection of drawings of vinny jones taken from panini and merlin sticker books from when he played for Wimbledon fc. all drawings done in crayon and oil pastels. Also made into a zine and made back into stickers.

Price: £Available on request

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hand crab / photograph from series titled ‘toss’

A colour film photography series an ongoing colour film photography series taken on a half frame camera. Photographs taken in various places and events in the UK since mid-2019. I am working on making this series into a book/zine when I am able to get my self to a good printer once quarantine has ended.

Price: £Available on request

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photo from ‘get home safe’ exhibition at living room gallery

Panoramic photograph from ‘get home safe’. A solo show curated by myself and gabby day at living room gallery. Show casing a range of different work including: sculptures, drawings, video work and photography. the room was filled with work on the walls, on the built in shelfs as well as the mantle piece also a TV showing a video piece in a little cubby hole. There where over 10 different bodies of work at this show and a packet of transform-a-snacks for everyone who came thru.

Price: £Available on request

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Collection 1

Mix Media Collage (Screenprint, Acrylic, Coffee, Leather, Organza)

Price: ££ on request

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Collection 2

Mix Media Collage (Screenprint, Acrylic, Coffee, Leather, Organza)

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Skin Series 1

Mix Media Collage (Vanta Black, Photo Transfer, Leather Thread)

Price: ££ on request

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Skin Series 2

Mix Media Collage (Vanta Black, Photo Transfer, Oil Pastel)

Price: ££ on request

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Fever Dreams

Photography slip decal, acetate, organza, acrylic and spray paint on canvas (2020)

‘Fever Dreams’ - photography slip decal, acetate, organza, acrylic and spray paint on canvas (2020)

Price: ££ on request

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Dill Pickle Print

Tracing Paper, Canvas, Metal Pins

Price: ££ on request

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Inner Love

Photography slip decal, acetate and acrylic on canvas (2020)

Price: ££ on request

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Bits Of You (And Me)

Photography slip decal, acetate and acrylic on canvas (2020)

Price: ££ on request

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Ruby's Dream

Acetate, photographic slip decal, acrylic and pins on canvas (2020)

Price: ££ on request

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He Smiles

Acetate, photographic slip decal, acrylic, charcoal and metal pin on canvas (2020)

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Boyhood

Part of my series 'Boy's Will Be Boy's' (more of this series and others on my website)

Refreshing, Exhilarating, Cleansing

Documentation of a multichannel video/installation work collages a number of small video collages (Video)

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Refreshing, Exhilarating, Cleansing [Excerpt]

The House

Video piece exploring threshold state and uncanny properties of 2d and 3d space

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Irresistible Influence

Portrait of the hypnotist Marshall Sylver. Oil and Charcoal on Paper (0.8x.0.5m)

Price: £Inquire for prices

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Sleep/Void

Oil and graphite on MDF (20x10cm)(10x10cm)

Price: £Inquire for prices

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Open wide

Pencil on paper (A3)

Price: £Inquire for prices

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traces

Documentation of work created for live performance, recorded on 9 May 2020. Thank you Danny Pagarani for the camera work and the voice performance.

Monoprint series I

Beach series I

Monoprint series II

Untitled (rectangular figure with ‘lines cross paths’)

Beach series II

Beach series III

Beach series IV

Big thank you to Hannah Barker for going on this adventure with the figures and me.

beyond deeper depths

Screenprint 68.5 x 102 cm March 2020

Price: £35.00

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lines cross paths

Screenprint 51 x 68.5 cm March 2020 The text printed here was originally written for performance ‘shapes overlap’ . It also features on the rectangular figure in ‘Untitled (rectangular figure with ‘lines cross paths’)’.

Price: £25.00

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INSTALLATION VIEW, 2020

EVOLUTION I, 2020

Digital Collage of 3D Studio Work In Progress

Studio Shot, 2020

Utopia of Dark Desires, 2020

Digital Collage of Physical 2D Works

Digital alternative to unrealized ideas.

Installation View, 2019

INVISIBLE ORDER II

Digital Collage

Untitled, 2020

Paper on MDF board, Pine, 58x83x1cm

Untitled, 2019

Found Packaging Paper on MDF board with Collage, Pine, 20x38x0.4cm

Unrealized Ideas, 2020

Untitled, 2020

MDF board, Pine, Acrylic Paint, Collage, 20x38x1.5 cm

Untitled (WIP), 2020

MDF board, Pine, Acrylic Paint, Collage, Frogtape, 20x38x1.5cm

Unfinished Business, 2020

PAUSE OR PAY

When You Pay for Things that You don't Get.

untitled

graphite and chalk on paper

interior

oil on canvas

Price: £700

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Massacre of the Morally Ambiguous (After Rubens)

Oil on Canvas, 2.2 x 2.5m

Price: £4750

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Massacre of the Morally Ambiguous (After Rubens) (detail)

Oil on Canvas, 2.2 x 2.5m

Price: £4750

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Statistical Phantoms

Oil on Canvas, 1 x 1.6m

Price: £1700

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Thumb Slipped!

Oil on Canvas, 90 x 120cm

Price: £1500

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How Dare You

Oil on Canvas, 1.5 x 2m

Price: £2150

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How Dare You (detail)

Oil on Canvas, 1.5 x 2m

Price: £2150

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Afterlife Sentence

Woodcut Print on Paper, 62 x 93cm

Price: £350

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A Single Scroll

Oil on Canvas, 1.4 x 1.8m

Price: £1750

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Blissful Ignorance

Oil on Canvas, 1.5 x 1.5m

Price: £1950

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If You Didn't Laugh You'd Cry

Oil on Canvas, 1.3 x 1.5m

Price: £1850

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Right where it ends

Oil on canvas 150 cm X 85 cm

Price: £1250

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Irrbloss

Oil on canvas 170 cm X 130 cm

Price: £1800

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End of the line

Oil on mdf 10 cm X 10 cm

The Nest

Series of 4, oil on mdf 22 cm X 15.5 cm

Price: £450

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The Nest

Series of 4, oil on mdf 22 cm X 15.5 cm

Price: £450

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The Nest

Series of 4, oil on mdf 22 cm X 15.5 cm

Price: £450

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The Nest

Series of 4, oil on mdf 22 cm X 15.5 cm

Price: £450

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You've Changed

22 cm X 15.5 cm

Price: £450

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'ChessPicnicBoard’

(Oil on Canvas with 3D Model Animation)

ChessPicnicBoard

(1.25x0.95m, Oil on Canvas)

Price: £100

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Seed Microcosm

(1.5x1.5m, Oil on canvas with JavaScript Code Sketch and Live Weather API)

Seed Microcosm

Demo video - visit the web app here: https://seed-microcosm.herokuapp.com/

Sweet Soil Toil

(Oil on canvas with JavaScript Code Sketch and Garden Audio Recordings)

Sweet Soil Toil

(1.35x1.6m, Oil on Canvas)

Price: £180

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Sun, Pots, Seat

(1.5x1.5m, Oil on canvas)

Price: £125

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Shower Simulator

(Oil and Gloss Medium Painting on canvas with Java code)

Shower Simulator

(1x0.6m, Oil and Gloss Medium Painting on canvas)

Price: £50

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Pause or Pay

Pause or Pay

star2.jpg

Dominika, 2019

Dominika, 2019

Untitled

Slovakia, 2020

Slovakia, 2020

Featurette, 2020

My latest work, Featurette, was made specifically for the degree show simulator. The work is a fictional featurette made by using found internet footage and the hiring of an actor to play The Director.

Three Works, 2020

Three artists discuss projects they are undergoing.

Pollok House Install, 2020

This video was made to be part of a group exhibition at Pollok House, Glasgow. The video pans around each room whilst a narrator explains the process of installing all the paintings in the National Trust Property. For this video the paintings were each digitally edited out to make it appear as though I had shot this video prior to install; this, along with the narration was aimed at creating the illusion that whoever made the video had actually installed all the paintings themselves. The video was displayed on a monitor that was mounted on a pre-existing TV stand in the foyer.

An Exhibition You Just Missed, 2020

Official Trailer, 2019

A sound work created from an unachievable exhibition concept. The concept is read by a film trailer voice actor which is then played in the space where the exhibition would have taken place.

Replacement of an Original, Portrait of a Little Girl by Johan Cornelisz van Loenen, 2020

As part of the Pollok house exhibition, along side the video work ‘Pollok House Install’, I replaced a painting that had recently been removed from the house with a digitally printed version of the original.

Bloodletting

Leather, cast pewter, steel frame

Bloodletting

Leather, cast pewter, steel frame

Third Degree Burns

Waxed cotton and linen, cast pewter, steel frame

The Locust

It is stuck in the fibres of a green cashmere sweater on a forgotten hot summers day.

Things I've Seen

Tall Stories

Animation, 50 seconds long Two separate stories, developed from my memories, playing simultaneously. Both stories are difficult to believe, exaggerated. The young girl climbing the tree is me and my experience when I was a child, and the man climbing the tower is a glass player I briefly saw in the streets of Venice. Each thing that plays a role in these stories are taken from different fragments of my memories, for example, the tower; I saw it whilst walking home one day, and was intrigued to what it was used for. I knew it was some kind of observation tower for someone to climb up, however I could not see anything surrounding it that needed to be watched over, nothing urgent like sinking ships or flood warnings. There was a gap to fill; what happens when the person reaches the top of this tower, what is the purpose of them being there? This is when my brain started imagining lots of different possible scenarios, many of the peculiar.

Stuck in our nests, 2020

Pencil drawing, Square A1

Singing Glasses

Some experiences that we witness in day to to day life don’t stop once we have walked past them; they have an after-life. Our brains instinctively replay and ponder them. I walked past the glass player haunted with disbelief, I couldn’t believe that the man rubbing his fingers around rims of glasses filled with water could create a song so angelic that it lit up his presence. I was wracking my brain re imagining the scene searching for a hidden speaker or alternative source of sound. Maybe this is due to me never being successful at making a sound round the rim of a glass. As a kid I told myself it was a well known magic trick I’ve just not been let in on, like whistling with a split blade of grass. 1 min long

Catching Drips

He saw moonlight on the surface of the water. Projection into buckets, catching drips of water.

Water Pipes that Sound like Thunder

Stills from animation, see my website for full film

Ant Raft

Pencil drawing, square A1

Price: ££60

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Ant Raft

Projection into bin filled with water

Pause or Pay!

I, as a graduating student at the Glasgow School of Art, would like to state my support for the Pause or Pay Campaign. Please read the full manifesto here https://drive.google.com/file/d/1MwdvZfLTp1udaASJ1EAmRT9XR-OPQIyU/view

Kids with Sticks

A series of three short films, full duration 3 min. The power of imagination especially as a child can transform a stick into anything. The film 'Cornstacks' was based on the recollections of my 80 year old Granddad, he tells how as a child he used to be paid by the workers who farmed corn to kill the rats that lived under the corn stacks with sticks. The film 'Poo Sticks' also includes a fond memory of a game I used to play when I was younger, and 'Sword Fight' is an animation of a stick being carved into a sword. These are family memories that are shared over time; they are remembered because they mean something. They are allegories and cautionary tales; we don’t know what they mean and that is how we make them. The work was exhibited at Pig Rock Bothy, on the grounds of the Scottish National Gallery (modern one) in Edinburgh. To see more about this follow the link below.

contempations [with a drink]

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commodification of happiness / fallacy perpetuated by a capitalistic society

Subliminal Messages in Art and Artifacts Found in Traditional Museums

This work may contain graphic imagery, Click to toggle blur.

Museum of Symbiosis

Museum of Symbiosis

Museum of Symbiosis

Glass cordyceps

Rat King

Motorised wheel containing glycerine

Rat King

Motorised wheel containing glycerine

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Dolly the Sheep

Dolly the sheep, cloned in Scotland, was produced from a mammary gland, giving her the name Dolly, after Dolly Parton and her voluptuous boobs. The two flags hanging from a pole, parade Dolly the sheep and Dolly Parton as a pair, as a celebration of the modern day animal sacrifice.

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P/P

Protest

Sertaline, Modafinil, Senna and a Coupla Jonnies Pal

(2020) (Video Installation, 6ft x 2ft)

This work exhibited in 'Cry and Laugh' in Glasgow Websters Theatre (former Lansdowne Parish Church) on 25th January 2020. Being in and out of relationships since I was 15, I adapted an emotional reliance on a partner to give me what I was avoiding to create for my self. The dimensions of this are of a telephone box; an abandoned communication portal I continuously salute as they represent the fragility and vulnerability of life. The titles of my work always act as a joke with a jab kinda coping mechanism.

Cheerio Lizzy, Thank You Alan

(2021) (Digital illustration)

The son of a civil servant, Alan Mathison Turing at the same age I am now (24) produced “On Computable Numbers” in 1936. He was a pioneer in the field of computer science; made several contributions to artificial intelligence and was awarded an OBE for his code-breaking work in WW2. Turing was also gay, and was treated appallingly as a result. In 1952 he was convicted of gross indecency for his relationship with a man. As an alternative to prison he was prescribed two years of ‘hormone therapy’. He died at the age of 41, this was recorded as a suicide. 59 years after his death he received royal pardon for the conviction. On 25th March it was announced that Turing will feature next on the £50 note.

EDI to GLA

A page taken from my sketchbook.

Talking Bollocks Mate

Collage

Price: ££800

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Price: ££600

This item is for sale, please contact for more information.

Price: ££3000

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Ornate Silver Spoon, Wooden Chip Shop Fork

Part of series - POEMS IN ISOLATION, 2020

Thoughts I’m having during isolation; rediscovering the forgotten words in my 2018 notebook; reflecting on past experiences; reminiscing about a taken for graduated freedom; chippy lunches replaced video calls; words I’ve constructed whilst trying to sleep on my mum’s couch during a pandemic.

Price: ££600

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Price: ££700

This item is for sale, please contact for more information.

Price: ££700

This item is for sale, please contact for more information.

Degree Show Proposal 2020

Depth of Field

Still from Depth of Field video which forms part of a video installation

Extended Ladder

Whistling hills, 2019

Experimentation for Group Show at Lang Craigs in collaboration with The National Trust

Holding water, 2018

This work came about after reading Ursula Le Guin’s essay ‘A Carrier Bag Theory of Fiction’. Within the essay, Le Guin examines how we are fed a narrative of the hero within our understanding of history. We are more likely to hear tales of war and conquest than the stories of the day to day life. Within the more domesticated side of history is written a story of collaboration, with each other but also in negotiating the environments we have found ourselves in. Whilst we look at the tools of war in our history, we sometimes dismiss the role of tools such as the bowl, which allowed us to transport water from source to home. The bowl allowed us to contain water, something that, in its natural state, cannot be held and even though contained continues to flow and react to the environment around it.

Envelop/Embrace, 2017

Considering the growth of a tree, new layers are formed and enveloped by the outer bark. The small but constant growth cannot be seen by the human eye, so we read the age of a tree by the rings it bares once we cut into it. The cloth becomes an external layer, embracing the growth within the trunk. As human beings we are often comforted by the natural landscape, to embrace something is an act of care, a sign of affection. Responding to this sense of touch within a natural space allows us to further understand and engage ourselves with the environment. This work was made as part of a project of acquaintance. Reading the sculpted landscape as an inscription of its own ongoing growth we can become acquainted with the innumerable dynamic processes perpetually acting on an environment. Within this project I was attempting to make transient work that collaborated with elements of these processes, taking the form of intuitive, performative and material actions that reimagined the growth and development at work. Not wanting to disturb the environment the works remained in place for a short period of time and were made using natural materials.

Remnants of Clay Drag, 2017

This work was made as part of a project of acquaintance. Reading the sculpted landscape as an inscription of its own ongoing growth we can become acquainted with the innumerable dynamic processes perpetually acting on an environment. Within this project I was attempting to make transient work that collaborated with elements of these processes, taking the form of intuitive, performative and material actions that reimagined the growth and development at work. Not wanting to disturb the environment the works remained in place for a short period of time and were made using natural materials.

Kitchen Cantilever 2020 1130 x 635 x 450 mm Formica, Steel, Paint, Wax.

Repurposing found street refuse, Kitchen Cantilever and Nothing Wrong Is With Me employ quotidian materials and processes in order to re-examine notions of utility. Submerged and camouflaged, these un-ostentatious forms serve to undermine the traditional fine art object, exploring concepts of value, identity and labour.

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Nothing Wrong Is With Me 2020 300 x 330 x 1750 mm Found Kitchen Cabinet, Skrim, Plaster, Pigment, Wax, Concrete, Steel, Paint.

Repurposing found street refuse, Kitchen Cantilever and Nothing Wrong Is With Me employ quotidian materials and processes in order to re-examine notions of utility. Submerged and camouflaged, these un-ostentatious forms serve to undermine the traditional fine art object, exploring concepts of value, identity and labour.

Price: £Upon Request

This item is for sale, please contact for more information.

Nothing Wrong Is With Me (Detail) 2020 300 x 330 x 1750 mm Found Kitchen Cabinet, Skrim, Plaster, Pigment, Wax, Concrete, Steel, Paint.

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Sections 2020 297 x 420 mm Graphite, Acrylic, Stone, Pastel, PVA, Ink.

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Sections 2020 297 x 420 mm Graphite, Acrylic, Stone, Pastel, PVA, Ink.

Price: £Upon Request

This item is for sale, please contact for more information.

How Can It Not Know What It Is? 2018 500 x 500 x 2200 mm Plaster, Iron Oxide, Fibre Optics, LED Lights, Skrim, Polyfoam, Steel.

Existing somewhere between a pseudo sci-fi film prop and a ruined monolith, How Can It Not Know What It Is? explores ideas of failed utopias, masculinity and antiquity. Rusty, hairy and only half illuminated, it doesn't quite shine bright enough or stand tall enough.

How Can It Not Know What It Is? (Detail) 2018 500 x 500 x 2200 mm Plaster, Iron Oxide, Fibre Optics, LED Lights, Skrim, Polyfoam, Steel.

Duplo Gardens 2019

Throughout 2018 / 19, I volunteered with Glasgow's Project Ability facilitating a pinhole photography project. Working in collaboration with multi-disciplinary artists Simon McAuley & Richard Anderson, we explored the mediums infinite possibilities, approaching the science, materials and aesthetic in different ways. Embracing a dreamy and over saturated style, Duplo Gardens explores utopian suburbia through a reduced lens.

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Duplo Gardens 2019

Price: £Upon Request

This item is for sale, please contact for more information.

Pause Or Pay Campaign

I, as a graduating student at the Glasgow School of Art, would like to state my support for the Pause or Pay Campaign. To read the full manifesto click this link: https://drive.google.com/file/d/1MwdvZfLTp1udaASJ1EAmRT9XR-OPQIyU/view?usp=sharing

Future Experiences Project - 'Constitution Cloth'

The Constitution Cloth focuses on a positive sustainable future for the Samburu tribe in Kenya. The final outcome is based on a collaborative event that encourages conversations around rights, values and diversity. The co-creation allows both community members and external designers from an NGO to experience the form of collective intelligence that helps to share each individual’s skills with one another.

The constitution is known as the supreme law of the Republic of Kenya and there is only very little knowledge about it in the indigenous communities of Kenya. What if we educate citizens by humanising terminology that also adapts to their own needs locally?  The Constitution Cloth artefact focuses on the ability of design to communicate beyond the words. It provides a fair representation of each community with a clear ‘formula’ of sharing the power and resources via constitutional arrangements.

Ethic conflicts in Kenya mainly stems from land inequality and regional imbalance. In this project I focused on envisioning the successful tribalism future. By recreating the current map between indigenous communities and government in Kenya, in comparison I established a credible future vision where structure of politics is focused on achievement of unity and diversity.

The group work phase resulted in a speculative future-word role that provided a foundation for the individual part of my project. The Community Ambassador role focuses on the importance of communication in maintaining strong communities. Following the experts input sessions I was able derive the main insights that drove me to tackle the complex topic of human rights in Global South.

As a part of a culturally aware project, I found it crucial to explore various opportunities of the materials use. This helped me to identify the most practical application for the Constitution Cloth artefact. In this case, I experimented with a range of organic materials that best represent the local Samburu tribe.

To communicate the value and the impact of the outcome, I created a 2D user journey of the system. It represents the experience of creating the story through co-creation. Each person’s voice within the Samburu tribe is being discussed and transferred to the Constitution Cloth as a statement. The locally made garment is worn by the Community Ambassador to represent their tribe during the gatherings with other tribal leaders as well as further international information gathering sessions.

Self-Initiated Project - 'Glasgow Canals Sustainable Stories'

My self-initiated project explores the relationships between people and nature, helping to bring both on the same level. I created the 3D landscape using both artificial and local organic materials found during the fieldwork. The model helps to envision a positive future for Glasgow Canal citizens living on the boat. These innovations identify the citizens’ relationship with environment as well as offer potential health and social benefits.

What is it like to live in a sustainably developed neighbourhood in the near future? The aim of my project was to transform the local economy of Glasgow Canal neighbourhood along sustainable lines. It helps introduce people to circular economy by resulting in dynamic outcomes.

In order to develop design opportunities I used the visual sense making method to generate the material from primary and secondary research. The main insight has drove me to explore the hidden properties of nature with the use of technology, in order to reconnect with environment.

Desk and field research has led me to multiple design opportunities such as, sustainable urban infrastructure, renewable local materials or shared experiences through local resources. Such opportunities focus on a key moment - enabling mutual experience through the focus on sustaining the environment of Glasgow Canals.

Future Experiences- ‘E-Cycle’

The issue I wanted to deal with when tasked with designing a sustainable development for the future Global South was the exponentially growing amount of electronics in landfills, also called ‘e-waste’. This map shows the amount of e-waste (per capita) produced in each African country, as well as the state of e-waste regulations in that country.

E-Cycle- 'The E-Waste Boys'

In Ghana young men burn e-waste to extract valuable metals from rubber and plastic housings, an extremely toxic and dangerous process. The estimated value of e-waste sitting in landfills globally is 60 billion euros.

E-Cycle- 'Repair Knowledge'

Repairmen in Africa create agency, by turning trash into tech, and fixing electronics. They are the keepers of repair knowledge.

E-Cycle- 'Expert Input'

Speaking to the experts about what I’ve learned about e-waste from my desktop research. I spent the previous day disassembling as much e-waste as I could get my hands on to better understand the ease of disassembly as well as the salvageability of the components

E-Cycle- 'Creating a Cycle

E-Cycle is a brand that employs local repairpersons and other community members, who repair tech and teach workshops with the goal of closing the e-waste cycle, and keeping valuable resources out of the landfill.

Self-Initiated Project- 'Teaching Critical Thinking'

For my self initiated project I decided to look into critical thinking in public education from the point of view of the teacher.

Teaching Critical Thinking- 'Educator Interviews'

I interviewed dozens of educators of all different levels, private and public. Two common themes appeared; the overuse of standardized testing, and lack of teacher/student autonomy.

Teaching Critical Thinking- 'Making Sense of Insights'

I gathered all of the insights that I gained from my desktop research/interviews, and plotted it onto a chart, so I could understand how different elements of nursery, primary, and secondary could be better tailored to nurture critical thinking.

Teaching Critical Thinking- 'A Prototype Mockup'

My latest prototype for a final design is a small booklet that helps teachers nurture and support the critical thinking abilities of their students.

Eyeam is a brand and kit to help children build empathy skills. Through the use of perspective taking and discussing emotions, the children gain a greater understanding of their own feelings as well as how others around them feel and think. By using the kit to transform regular objects into expressive creatures, they get an opportunity to explore these empathy skills in a playful and comfortable way.

A breakdown of how to use the kit and the value created through it. Though the project had a core focus on the development of empathy skills, it also improves the children’s cognitive development, social skills and promotes creativity/imaginative thinking. Teachers and parents can use the prompt cards to encourage discussions about emotions as well as children playing together without an adult input.

The concept originated from visiting the Hamilton School for the Deaf and observing the social difficulties for deaf children while communicating with hearing children. This gave me the drive to create a kit to help children understand the differences in difficulties or needs that we all as individuals have. I felt that making an extremely visual and tangible design was key to making the kit accessible to anyone. I also chose the playful and colourful aesthetic to create a more welcoming experience for an often hard to discuss topic of emotions.

Alongside designing the kit, I also created the brand eyeam. It was inspired by visualising emotions and how I chose to do this through the eye pieces. The eye pieces therefore can be used to represent an individual and their experiences, whether they are fictional or real stories. They are a way to prompt discussions such as, “I am feeling…because of…”, so the brand eyeam naturally emerged. The kit will act as a new form of communication between hearing and deaf pupils with a focus on emotions, thus helping the children to understand each other better.

Screen templates for The Sankofa Journey app. This project explores an alternative form of education for those in Malawi who have had to drop out from school due to social, economic, environmental, racial, or political factors.

A breakdown of how the app connects current university students and employers with those who have experienced barriers to an education. It creates a continuous cycle of knowledge sharing, community connections and new career opportunities. This will help to reduce the amount of people who currently choose to move away from Malawi to access training and education.

This model was created to experiment with different ways to display the various actions in the app. The app screens can be removed from the base and slotted into a centre display stand. It was tried out at our exhibition in The Lighthouse earlier this year and received great feedback on both how it displayed the screens and how it worked as an interactive exhibition piece.

Self-Initiated Project - Open Ear Installations

Open Ear Installations are based in various places throughout the city. They make it possible to focus on listening to our environments, rather than just look. Each installation amplifies the sounds around itself but quiets the visual distractions. In this way each visitor can discover an aspect of their city’s character they may have overlooked in the past.

Open Ear Installations - Listening to Anthropophony

Anthropophony is any noise made by people, directly or indirectly. It has many negative connotations for plenty of reasons, but because we live in a primarily visual culture there is not much action taken against problems of noise. A first move towards a changed sonic landscape is recognising the need to listen and appreciate the sounds around us and to find the value in them. Hence, my project encourages active listening and rediscovering the lost beauty of noise.

Open Ear Installations - Maximising Attention

In order to understand this topic, I asked participants of my field research to ‘collect’ moments of noise and quiet and to visually record them. In the group discussions afterward, the most interesting discovery was that most of my participants said they enjoyed the opportunity to focus more on the sounds around them. In this concept creation sketch I was exploring the connection between senses by translating noise into a visual installation. However, because this would reinforce the visual culture, I decided to maximise the attention to sound instead and minimise the attention to visuals.

Open Ear Installations - The Appreciation of Noise

The intended impact of this project is for users to grow an appreciation of noise, to listen more intentionally and to find joy in the mundanity and novelty of soundscapes likewise. I aim to challenge visual culture and inspire growth in auditory culture of everyday noise. As a result, I hope to enable necessary actions being taken to protect sonic landscapes and their audiences – us.

Future Experiences Project - Habitat

Habitat is a new system of a public greenspace which allows city-dwellers in the Global South to escape the hustle and bustle of their environment. Because faith plays a major role in the Global South, Habitat seeks to re-establish traditional connections between faith and nature. People who seek a space for prayer, meditation or rest can find a small oasis within the busyness of the city. The app helps the users to locate them easily and to verify their availability. The service also indicates the environmental qualities of the spaces, such as noise levels.

Habitat - A Small Urban Oasis

Habitat - Faith Groups & Sustainable Development

The role of faith groups is vastly different in the Global South compared to the Global North. Oftentimes, faith groups are the most trusted authorities and people turn to them in times of need. They are strongly embedded in local communities and thus, can have a large impact. Based on these facts, it is inconsiderate to assume sustainable development in the Global South should be separate from local religious institutions.

Habitat - Nature and Faith

Based on the thesis that with appreciation comes care, the intended impact of this project is to reconnect faith and nature by encouraging the appreciation and delight of both. In concept creation I found that designing beautiful and calming spaces for prayer and meditation embedded in nature is a good place to start establishing this relationship in an urban context.

Future Experiences Project - Mother

Mother is a speculative LGBTQ health brand, offering discreet care under the guise of consumer products through an imaginative distribution network. Brand ambassadors or ‘Mothers’ act as representatives for the service’s members, providing information on risks the community may face and advising on a range of products to be distributed to members. These might include items relating to self-care, health and peace of mind.

Mother - Context

The project is a response to the current persecution of people pursuing same-sex relationships in some countries in the Global South. The brand name, Mother, is inspired by surrogate families which exist within the LGBTQ community, and the service itself is intended to mirror this dynamic. By posing as consumer goods and infiltrating existing supply networks, Mother will covertly provide illicit care and support to people forced into living secret lives.

Mother - Moodboard

While I began the project designing a service to covertly deliver medication, the scope quickly expanded to address the additional emotional impact which living in isolation and secrecy can cause. More than just providing medication, I wanted Mother to be a service which recognised and supported people from the LGBT community in countries and environments where traditional and official avenues would not. This ethos would be reflected in the choice of products distributed to members, with items related to relaxation and self-care offering moments of peace and tranquillity to make members feel valued and cared for.

Mother - Prototype

Early prototypes explored ways of delivering sexual health products and test kits with discretion and secrecy. Here a box of sweets acts as a decoy for the delivery of health products stashed underneath.

Mother - User Journey

Mother is intended as a small but powerful token of love and validation for people who have been ostracised from their families and communities. While the larger fight to eradicate homophobia around the world continues, Mother focuses on tangible moments of personal support and care, empowering individuals so that they might continue to live, seek community, and fight for their rights.

Self-Initiated Project - Maker

Maker reimagines the relationship between craftspeople and social media. While the online platform economy has in many ways saved the craft industry by allowing independent craftspeople to reach wider and more lucrative audiences, it has also introduced distinct new challenges to do with mastering social medias and marketing yourself online. Maker is a response to this juxtaposition of skill sets, attempting to create a seamless bridge between analogue craft practices and online sharing.

Maker - Homescreen

The project was designed in collaboration with a range of local craftspeople throughout Glasgow. The insights they provided went on to influence the design of the service, incorporating their complaints and suggestions. Many remarked that social media felt like a job too far removed from their craft practice, while others commented that properly communicating their personality or value was an ongoing challenge. The challenge then became to design a platform which felt like a continuation of their craft practice.

Maker - Research Quotes

Early research included examining existing social media platforms used by craftspeople, to map the kind of interactions which they uniquely cultivate. Instagram was mainly described to be about style and image, whereas Twitter represented voice and personality. The leading craft selling platform Etsy was described as being the most sales driven, while neglecting some of the capacity to show personality and process which other platforms facilitated. Collectively, each platform represented a facet of the contemporary craftperson's practice, but no one platform encompassed all of these elements, and all felt distinctly separate from the practice of craft itself.

Maker - Platform Research

Further research into existing platforms demonstrated distinct "types" of profile employed by craftspeople. Some makers cultivated a unique aesthetic to draw attention, while others relied more on their personality, sociality, or insights into their making process in order to cultivate interest. I wanted the Maker platform to facilitate all approaches, and furthermore assist craftspeople in identifying and developing their own unique style and approach, something which no current platform does.

Maker - Products

A range of physical products further blur the lines between craft and social media. 'Peek' lives overhead in the workplace or studio, allowing potential customers to 'peek' inside, as if looking through a shop window. 'Gander' lives on a desktop or worktable, capturing an insight into craft process from the makers perspective, while 'Yap' facilitates live interaction between maker and followers by broadcasting into the space. Products can be used individually or in combination to support each makers distinct personality or style.

'TASIP'

A visualisation of the final product in use.

‘TASIP’ Product Video

This little animation shows how ‘TASIP’ can help to value food and broaden children’s taste awareness by introducing and getting used to new tastes, thus, ultimately creating new food habits and enriching the taste culture and intelligence (c 2,5 min).

Context

What if there would be a way to know how the food tastes even before eating it? The narrative shows a moment with design opportunities (c 1 min).

Early User Engagement

A visualisation of user interviews and experiments with the key quote that sparked the interest and informed the project.

Project Inspirations

Early inspiration and theme exploration. Looking at the broader area of food and emphasising on areas of focus and some key issues around the chosen theme.

'Toolstool' Experience Video

An animated story board of the project outcome. ‘Toolstool’ invites people from any community which experiences a social disintegration, unheard voices and the loss of roots to start the discussion of mutual aims and goals. The kit is used as a workshop starter which creates platforms for people from different societal groups to exchange knowledge and eventually come together into the same room. The thoughts and ideas of the communities are built into a dialogue that takes the form of an exhibition.

Project Contexts and Insights

What does a Christmas cake have to do with conservation of cultural knowledge and heritage? This visual mind-map illustrates the journey of thoughts around the developing theme and design opportunities of my project. It highlights the key insights of the external experts that the project was informed and inspired by.

Product Prototype

A visualisation of ‘Toolstool’ and its packaging being constructed.

Project Value

An illustration of the ‘Toolstool’ experience’s ultimate value. By creating situations where stories can be shared, the kit works as a conversation facilitator for exchanging the cultural heritage and knowledge between global and local communities.

Self-Initiated Project – ‘Exchange Your Props’

The left image presents an exhibition space showcasing the work of Artists in Tramway. The right is the storage room full of exhibition props and waste which usually ends up in landfill. By holding meetings with different exhibition Curators, I immersed myself into these temporary environments that experience a lot of throughput of resources. I found this to be the grey area that is not in the public’s attention.

By creating insight cards with information gathered from the curators and the field and desk research, I found that showcase props are often used for a shorter amount of time than the initial time which takes to create them. The fast schedules of exhibition spaces make it difficult for Curators to take time to reflect on the finished shows.

Mapping out the current material journey in Tramway, from the initial dialog which takes place between the Artist and the Curator during planning, right through to the deconstruction of the exhibition and the storing and dispersal of props and resources. Doing this, helped me understand where key opportunities are along with the economic limitations within the current system.

What if different exhibition spaces and their Curators could be working much closer with each other? Creating a network of exchangeable exhibition props could be an opportunity to make resources and props more visible across the different sectors. In order to explore this further I began developing opportunities in the form of three-dimensional landscapes and exhibition environments. Each environment represents different scenarios within which resources are exchanged, re-purposed or stored.

A “Virtual” catalogue, allowing the exchange of already built props between different exhibition spaces. Helping Curators access already built props from other exhibition spaces, and so reducing the need to build new ones. Allowing them to plan more effectively, as well as, bringing more awareness by changing the initial dialog between the Curator and the Artist from “We can build this…” to “We can use this…”

Future Experiences Project – ‘Wove In’

'Wove In' is a waste material system within the Global South that preserves craft skills across generations and communities to produce innovative, sustainably sensitive products of the future. The hands were cast to symbolise the two distinct skills of the Innovators and the Artisans within this system, as each work differently with the waste material.

The precious craft of basketry within the Global South is woven through generations. It is passed along a continuous thread from mother to daughter in order to protect and preserve the old art form. By dissecting the basket, I wanted to further understand the traditional method and extract the material from which the basket was weaved.

Returning to insights gathered during our group work along with the valuable sessions conducted with specialists where I found that there is an untapped potential in the capabilities of the crafts people within the Global South.

A Graphic development of 'Wove In' Logo. Combining elements of different stages, starting from the waste material, then traditional craft of weaving, that are both intertwined into a new form of innovative craft through technological advances. Forming the logo that represents a space for collaboration between two diverse disciplines and generations.

The ‘Wove In’ system map symbolises the journey of the waste material and intersection between the two disciplines. The system creates an opportunity for the Artisans to continue passing their skills. Their weaving techniques are translated in an innovative way where the end products of such collaboration promote the cultivation of artisanal spirit of preservation, whilst pushing the boundaries of the traditional handcraft.

The Habitat Education and Restoration Agency (H.E.R.A.)

The Habitat Education and Restoration Agency (H.E.R.A.) draws attention to how our environment influences our behavioural habits and makes a statement that wellbeing and future thinking should no longer be a luxury. This speculative system is placed in a preferable future within an area between the urban and the rural, called the Sustainable Belt, dedicated to educating the population on sustainable and symbiotic living. The selection of artefacts makes up a personalised introductory kit for newcomers to the Sustainable Belt. In a tangible manner, it manifests the identity of the traveller and becomes a support mechanism throughout their stay.

With the move to a self-sufficient sustainable environment, H.E.R.A. aims to shift people’s understanding and relationships with their land. As a future vision of sustainable work practice on a micro and macro level, it puts the responsibility of creating a healthier landscape on each individual across society. This environmental structure could be implemented around every major city and would engage each citizen through an obligatory service, along with a possibility of gradually revisiting the compounds throughout their life. Through habitual practice, H.E.R.A. aims to strengthen and restore the lost connection to our landscape.

Driven to create an environmental heritage through rituals, I began drafting scenarios of a preferable future and asking 'what kind of world would we want to live in'? Critical discussions with sustainable development experts accentuated the fact that wellbeing and future thinking is a luxury that is not affordable for many, especially in the Global South. The aim of the project was to then make sustainable practice and knowledge accessible to all; ultimately making it a societal value.

At the developmental stage of the project, I have explored with various system mapping techniques to contextualise the proposal of the H.E.R.A. system. 3D pop up maps were an effective design tool for engaging and testing the user journey with the Sustainable Futures of Africa (SFA) network. By physically allowing experts to go through the matrix, they gradually explored how participants would transfer to the new environment, and have their profile run through Hera, an AI that then proposed suitable activities based on their skills, strengths and individualities.

By giving each citizen the chance to devote a stage of their lifetime to the Sustainable Belt, this government-funded organisation shows how an environmentally conscious mindset could spread across society. The project aims to equip and empower people to gain and grow their ecological knowledge and develop sustainable habitual behaviour that then can impact their local communities. The pictured H.E.R.A. application acts as a progress journal, archiving all data and materials gathered throughout the completed activities and workshops; acting as a memoir of the stay, with accessible expertise knowledge that participants can build on.

IO

IO is a speculative project inspired by the Japanese notion of Ma (間), defined as ‘in-betweenness’, ‘negative space’ or ‘time-space’, and proposes an experiential response to the modern fast-paced society. Its value lies in provoking and challenging society to re-think our relationship with time and societal expectations of meeting the ever-increasing speed instilled by modern economies. It envisions a future where ultimately technology is the last resource for stimulating an introspective hiatus. IO becomes a new form of public-facing intelligence, designed to create an unexpected moment of in-betweenness and reflection, by creating a one-off emotional connection with a stranger initiated by facial recognition and shaped by social data. This personalised Ma moment targets the overstimulated and inattentive, to disrupt the fast-paced rhythm of society.

IO takes place in a future scenario where technology becomes an all-round life companion. With new forms of intelligence introduced to understand and learn about its users, facial recognition becomes ubiquitous and socialising took on the form of 'separate togetherness’. Such alternative futures were created in the process of drawing out a spectrum of society's future responses to the tensions of fast-paced city life. Personas were curated based on emerging behavioural habits in interviewed stakeholders that identified as being negatively affected by the lifestyle, depended on technology for mental repose and were put into stress at the moment of inaction.

With the objective to explore how the metropolitan environment instils a draining rhythm, I decided to engage in the practice of flânerie and explore how psychogeography can aid in gathering insights and design opportunities. While mapping my journey and taking documentation of my encounters, tensions and spontaneous moments of Ma, I came across this black panel guarding off a construction site; static on the background of the bustling city. This shocking juxtaposition enforced a sudden pause and contemplation, where ultimately I found myself in a spatial in-betweenness.

Challenging existing systems using ideologies that often take on relational meaning was difficult at first to imagine. Participatory methods of involving stakeholders in materialising this abstract concept became useful in contextualising Ma and exploring tangible interpretations. By provoking people to think in these abstractions, I was pleasantly surprised to observe 'Ma' becoming a new universal term and human value amongst my participants. Critical discussions with Japanese designers made me realise how momentous Ma is in Japanese everyday life and how it can be utilised for gaining a wider perspective.

With technological advances and work-focused lives, people have less time to reflect on their lives as they become dominated by the need to act, to be online, to deliver, which ultimately causes a desensitisation to our environment, a feeling of ennui and fragmented attention across society. Technology gave us the possibility to always be connected and never feel alone. The key value of IO is that it disrupts this preconceived notion by letting us be alone for a brief quiet moment and to just think about yourselves. It provokes a discussion surrounding existing societal norms, how those affect our wellbeing and how in relation the role of technology might change in the future.

Future Experiences – ‘The Global Knowledge Exchange’

By 2030, aid should no longer be something administered to the Global South by the Global North. There should be opportunities for an exchange of knowledge and skills rather than the simplistic provision of money and resources. ‘The Global Knowledge Exchange’ sees ambassadors in the Global North and Global South teaming up to discuss ideas that are important to their communities.

The Global Knowledge Exchange – User Journey

Using virtual-reality headsets and a series of tools to aid their conversation, the mentors are able to uncover knowledge that they then share with their communities. The three artefacts are used as tactile input devices to support discussion. The mentor can also wear the objects as jewellery to prompt conversation within the community.

The Global Knowledge Exchange – Mobility of Knowledge, Expert Input Day

The Global Knowledge Exchange’ builds on an insight I was introduced to while continually working with experts, shown above. This system will challenge this common misconception, proving the Global South has much to offer the Global North. This was the central focus of this project - an equal knowledge exchange.

The Global Knowledge Exchange – Form and Colour Exploration

Although people were important during this project, how to communicate with one another with the issue of a language barrier was another crucial factor. The artefact inspiration came from the connotations surrounding crystals and how they are symbolic to people. I was deeply interested in getting to people through artefacts which required a form development to reach the final outcome.

The Global Knowledge Exchange – Final Artefact in Use

The artefacts demonstrate a gestural, haptic language that is tactile for the ambassadors to communicate effectively with one another in a new, universal language. The series of three artefacts allow the users wider accessibility to one another while also relating to each object on a personal level.

Self-Initiated – ‘Link’

The central focus for this project was to create a better ‘Link’ between society and post homeless people through food. From the research conducted I found that currently there is a lack of communication between stakeholders surrounding post homeless people. ‘Link’ would ensure that all stakeholders create a better network for homeless people, situating society at the forefront of this.

Link – Field Research

Research shows that there is a vital time to implement change to ensure the cycle of poverty is broken within the post homeless community. For this to succeed, homeless people need to feel like citizens and a part of society. While conducting interviews with homeless people (past and present), community kitchens, and soup kitchen volunteers, it became clear that most homeless people in Glasgow do not, and often never, feel a part of society.

Link – ‘The Struggle of Struggling’

Speaking to a man who was ‘hidden homeless’ triggered the thought that many people want to help those in need, sometimes we just don’t know how to make a big enough impact. Not only is this valuable for the receiver, it is also equally beneficial to the donor. ‘Link’ would be a collaborative cooking and dining experience, with equal benefits to both users.

Link – Distilling Research

After discussions with various stakeholders showing my work, it was evident that this service would take form of a system that allowed a domino effect of support to be accessible. ‘Link’ allows the post homeless user to establish a connection with a buddy with the idea that they will later become a buddy for a new user down the line.

Future Experiences - Musi Co.

Musi Co. is a brand that connects people through creative waste management. Cultivating relationships between communities, individuals, and nature across the world by channelling art and music as represented in the logo. Leading to inspiring stories that bring people together through a collective effort; the concept of recycling generates a force for change in communities and around the globe.

Subscribe for Connectivity

Musi Co. teaches people to treasure the waste that engulfs our urban environments, as a subscription service it spreads culture and worth. Users receive access to playlists of music jams online. Musi Co. subscribers receive a portable device pod that allows them the opportunity to record their own sounds from waste and send them to be mixed. Users save their favourite tunes on the pod to listen on the go.

Future of Opportunities

The service creates various opportunities for employment, as people are needed to gather materials, build the instruments, manage subscribers, and oversee the service’s operation. Participants in the Global South collect useful waste materials work and craft to construct and convert these into unique musical instruments from the recycled materials. Producing music with these instruments have a direct stake in reducing waste and reusing discarded materials while influencing future solid waste management habits and practices.

Making a Change

A main value of my project was to connect people from around the world. I focused on mutual connections with the aim to create reciprocal relationships. Meanwhile it was important to harness value of culture, sustainability, and resourcefulness. The cycle of Musi Co. offers opportunities and job roles at each stage of the service.

One Man`s Trash...

This sharing of music with members in different countries creates a global network united by a passion for music and a desire to create culture from waste. “The message of this experiment touched me because of the empowering effect a group can have on individuals and communities through their innovative and creative use of discarded objects.” Vanessa

Self Initiated Young at Heart

My Young at Heart project explores and expands on how design can overcome and improve the social issue surrounding isolation and loneliness in the older generation. My aim is to use design to enhance and normalise how generations can communicate and interact. I plan to explore and challenge methods of design interaction through artefacts, technology, and events for an intergenerational outcome.

Ageism is Discrimination

I explored ageism as a way of understanding isolation and loneliness within the elder demographic. It was important to gain personal views from the older users and compare them to how younger generations reflect on the stigmas, in addition to current statistics. Throughout the research process I received a tide of inspirational views, that reflected a motivational mindset, these inspired me to push boundaries.

Information to Insight

This research method was most appropriate to gain a span of insights. From not only what the user answers but the manner in which they articulate the tasks. I used the cultural probe as a communication method; daily tasks to gain insights on users’ routines, activities, and what sparks interest. Using a variety of artefacts as methods of communication allowed user to express themselves in different manners, enhancing intrigue and exploring methods.

Stay Connected

With covid19 circumstances, I have continued methods of communication. Exploring how generations of people can not only communicate but interact when mobility and personal interactions are comprimised. Ranging from personal, to physical to mental activities and methods, these ongiong probes have opened my projects value into how we can continue and adpat the manners of interacting with older generations.

Intergenerational Connections

My aim is to expand the mindset and manners in how we interact with older generations. Integrating generations will prevent loneliness and isolation among elderly. Using both physical artefacts and tech to create a physical and meaningful intergenerational relationship through impact of experimental design. The impact of these respected, reciprocal relationships spreads awareness, value and positively adapt an intergenerational attitude of communications.

Nine

This is an audio and visual exploration of the urban landscape. It processes street culture, skateboarding and music through a psychedelic lens, and opens up an alternative look into the city. repurposing spaces to bring people together across the asphalt jungle

Dada Is Everywhere

A short documentary about the Dada art movement. This film recounts the beginnings and later influences of the early 20th century European art movement. The film contains interviews, sound design and original music that pays homage to the movement itself.

Cymatics

A short film that demonstrates the visual effects of sound frequencies on matter. The film features a series of materials that react physically to the phenomenon of Cymatic frequencies. Cymatics is a branch of acoustics that observes the effect of standing waves created by low vibrations through natural materials. Certain frequencies create unique patterns only found in nature. The visuals in this film are accompanied by original music.

Bosco Regina

"Bosco Regina" is a portrait of a man and his dogs as they hunt for the ultimate prize, the woodcock - also known as the queen of the forest. This visually spectacular documentary is a meditation on the coexistence of predator and prey and the beauty to be found between the lines of pursuit and action. It is a peaceful film about hunting, where the only shots fired are from a camera. Sean directed, filmed, edited and wrote voiceover and music for the film.

Not To Need You

“Not To Need You”, by Scottish act Dancing on Tables, is an example of Sean’s innovative and ambitious approach to filmmaking. The video was filmed in a single continuous take to help capture the songs building tension, and complex choreography was used to achieve the impression that the band were disappearing and reappearing, meant to visually represent the themes of loss and separation explored within the song. Sean directed, filmed and edited the video, with the help of a single assistant on the day to ensure he didn’t fall over when walking backwards.

Showreel

This showreel features work which has all been filmed and edited by Sean De Francesco between 2019-20. The musical accompaniment “Breaking Or Broken (Instrumental)” was composed by Sean as part of the band Moonlight Zoo.

Filming "Bosco Regina"

Taken during the filming of "Bosco Regina", which was shot entirely with a Sony a6300 + kit lens, mounted on an electronic gimbal.

Filming at the SSE Hydro

Tranquility & Disruption

This short film assignment was my first experience making a film with entirely original content. Within this piece I explore the diversity of the out door world, looking at Scotland and the industrial City of Glasgow. I wanted to draw attention to the 2 different worlds we live in; experimenting with tension and surprise in order to emphasise the contrast between the natural and the manmade. Blending progressive sounds, field recordings and harmonic tones, I attempted to compliment the rushes of the vast landscapes; slowing time and creating space for contemplation. This is disrupted by the glitchy scenes of the city, where industrial noises intensify the lights and brutal architecture.

Dust Binaural

surround(binaural) radio drama where I have created my own sound design to give the audience a spatially enhanced listening experience to draw them closer to the action.

My Brain and Me

is a 360 film based from my personal experience what it is like to have dyspraxia. The film immerses the audience in a world where voices and strange drone-like sounds move back and forth between the foreground and the background layered to give the listener/viewer a subjective perspective of my inner voice.

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The Real St Peters Seminary

Film Documentary detailing the rise and fall of a grade A listed building in Scotland

Scotlands Not So Secret Places

This is a short documentary I created about a well-known visually pleasing and picturesque site called Finnich Glen, otherwise known as The Devil's Pulpit. Located in the beautiful and scenic town of Stirling, The Devil's Pulpit is a popular site which is visited frequently by locals and those travelling far and wide. I wanted to create this documentary to not only highlight the beauty of the land, but to introduce some stories and background that is woven into the water and rocks that lay home to it. I really enjoyed creating this documentary as it was my first try at camera work and using Final Cut Pro X which were both new skills for me to learn. Some advice if you're going to visit - be careful!

Scotlands Not So Secret Places

An image taken at the bottom of the rocky and dangerous steps that lead down to the heart of The Devil's Pulpit.

Experimental, Situational, Phenomenal

This is a short documentary that was created by myself and my classmate Lucius about the Light and Space Art Movement. This was in interesting yet difficult documentary to create as there was little to no archived footage which meant it had to consist mostly of stills. However, we had some help from artists who we got in touch with such as Olafur Eliasson and an independent light show team called Squidsoup who allowed us to use some of their images and videos which was very kind of them. All of this teamed up with the relaxing soundtrack created by Lucius and an illustrative and informative voice over created by myself allowed us to produce this piece that we are both proud of. The most interesting part about creating this documentary was strangely all of the research. It was amazing to explore an art movement that neither myself or Lucius were familiar with and we enjoyed the plethora of unique art work that we found. Most of the pieces that we found impactful were added to the documentary, but sadly there were just too many to include them all.

Great Animal Orchestra by the United Visual Artists used in Experimental, Situational, Phenomenal.

This is an image by the United Visual Artists that was used in our film. used in Experimental, Situational, Phenomenal. All copyright goes to original artist.

VO Showreel '19/20

This is my Voice Over Showreel that was created by myself and my lecturer Paul Wilson. I found a real passion for Voice Acting during my time at GSA and it has allowed me to work with professionals outside of university that enjoy my work. It's also a nice escape to create some voice overs and spend some time doing some simple editing with them. I really enjoyed making this showreel to showcase my different accents and styles and hope it leads to more work in the future! Please note all copyright belongs to the original advertisement.

Cube Audio Implementation Demo

This piece is included to demonstrate my experience using the game audio middleware ‘Wwise’, using its in-built demo game ‘Cube’. This type of software is designed to enable sound designers to implement audio in an interactive environment, while still having access to some of the tools and the familiarity of a traditional digital audio workstation. Using a combination of synthesis, Foley recording and sound FX libraries, I began accumulating sound assets that I felt suited the visual appearance of the game, that being a retro, low-res form. Once I had sourced and/or recorded the required sounds, I arranged and assigned them to create an interactive soundscape within the framework of Wwise. There are some issues caused by audio triggers from the game itself, namely the speed of footsteps and the type of underfoot surfaces, but despite this I am happy with the progress of this piece, and it has served as an invaluable learning exercise into the process of implementing sound in games.

Meta

This piece was inspired by the Franz Kafka novella ‘The Metamorphosis’, a story in which the main character, Gregor Samsa, awakens in his bed to discover that he has transformed into a giant insect. The story conveys a number of thematic messages, including those of isolation, disease and alienation. It can be read as a comment on the fragility of the mind and body, with emphasis given to the description of Gregor’s transformed state and the effect it has on him. For this work I produced and combined sound and visual imagery to represent the opening scene of the story, when Gregor awakens to the melancholy-inducing sound of rain on his window, before slowly realising what has happened to him. In this piece my primary aim was to create and use sound to convey Gregor’s shifting emotions, gradually moving from a subdued, melancholic state to one of dawning panic and horror. The visuals are intended to supplement these emotional connotations, while also helping to enhance the impression of claustrophobia and isolation.