GSA mfa degree_show

Olga Schultz

Ring (Outskirts of Glasgow)
glass, clay mould, 2010
approx. 52 x 52 x 16 cm


untitled (excerpt of a growing archive of sketches taken on walks)
pencil/watercoulour on paper, 2009 - ongoing
15 x 10 cm

Olga Schulz: Ring (Outskirts of Glasgow) from GSA MFA on Vimeo.

Her work approaches landscape sculpturally – and the emphasis lies on approaching in artistic as well as social practice as a means of breaking open conventional ideas of sculpture and landscape. She moves within this area because walking forms the departure point for many of her works. During studies in Glasgow she repeatedly set out on walks to its periphery to record the clash of the "civilized" and the "savage." The evolving collection of photographs, drawings and texts form a growing archive from which sculpturally inspired investigation of an area is driven by chance and change. The developed works are proposals that move within this dialectical landscape and represent a range of responses from the trivial and the sublime, the imagined and the derelict, the polluted and the primordial, the lit up and the dark. The unruly and unpredictable laws of materials and techniques fuel the conceptual investigation of two opposing elements - the rigid and controlling nature of "centrality" opposes the improvised tactics found at the fringes of a city.

Fiona Burke

Untitled
Watercolour and digital print on Arches paper, 2010
29cmx21cm

Through the manipulation of watercolours, historical paintings and photographic fragments, her work explores the layers of representational modes that generate perception.


Kaifeng Chun

Faintly Longing Still
Installation, 2010

Drawing on a modernist vernacular, the works reconfigure the utilitarian order of the quotidian to become poetically realigned and evoking meditations on the temporal and spatial dissonances of the built environment.


Charlotte Prodger


Psychic sign/desert hand
35mm slide/photocopy, 2010
Dimensions Variable

As part of her MFA in 2009 she studied for 4 months at Calarts, Los Angeles. Her 16mm film works have been funded by Artangel and Film London. She plays in the Glasgow-based 8 piece musical collective Muscles of Joy.

Rosemary Scanlon


Profile Pics (1)
Silver plate daguerreotype, 2010
10cm x 13cm


Collecting, appropriation, misuse, biopiracy, copyright are all ideas dealt with in the past but in the digital age are leading to a reevaluation of legal, moral and ethical behavior. As past behavior is challenged and the ethics and legality of these practices debated, the digital revolution now exists in this past vacuum, lacking social, moral, ethical, and legal scaffolding. The collection of this online archival imagery emerges in divergent physical manifestations through painting, explorations into daguerreotypes, and digital wallpaper.

Deniz Uster

about a factory
fabric, foam, branches, stones, plastic tubing, steel, wood, 2009
260x172x95cm

Deniz Uster: being an ear guest to a gossip from GSA MFA on Vimeo.

Deniz's work often implies a process of transmutation, through the language of alchemy. However, different from the sublimity of Hermeticism, her works transform the valuable, the profitable into the futile and the useless. In these works, she utilises rituals, and Anatolian Turkish Folklore, hybridised with the antithetic nature of Scotland, where she feeds from both its industrial spectacle and its scenic beauty. Therefore the nature of her work is highly contradictive, fictional and intentionally fake in appearance.

As a product of this mixture, her hybrids have begun to form around the monstrous, not as an aberrant category, but as the very circumstance of existence. In these works, she intends to demonstrate in what ways monsters, these ambiguous figures, involve a reconfiguration of relationships between bodies, cultures and all embodied selves.

Tobias Wootton

Untitled (Buckets Diptych)
lambda-print on Aluminium-Dibond, both framed, 2010
each 54 x 64cm

Instead of documenting and delivering answers about specific places, I am interested in posing questions about purpose, locality, originality and reality of the depicted scenes. I do this by offering a visual framework of imagery that can be interpreted, adapted and contextualised by the viewer.