PAINTING & PRINTMAKING

Stow Building, 53 students

The Department of Painting and Printmaking is the largest specialist department within the School of Fine Art and the programme of study provides an increase the breadth of experience and learning opportunities for students.

The programme aims to equip students with the necessary skills and expertise to realise their full creative potential and to pursue a career in the visual arts or other chosen professions. Each year is designed to ensure that it builds upon the previous year in terms of content, skill development and individual research.  Students are provided with a sound knowledge of the theory and practice of their subject before developing personal study paths and self-motivated programmes of work in the final year.

Welcome

Introduction to Painting & Printmaking

from Artist Book

199.5 x 129.5 cm

from Paintings

from Artist Book

from Artist Book

12 x 16 inches

from Paintings

from The Cowboy Builders

from The Cowboy Builders

from The Cowboy Builders

from The Cowboy Builders

from The Cowboy Builders

The Memory Collection

from The Memory Collection

from The Memory Collection

from The Memory Collection

from Bus Shelter

from The Memory Collection

from Degree Show

from Like a fish out of water

from Degree Show

from Twisted

from The Theft of Something Dear

3D Painting. Photo still using Blender Software

from ‘Pharmacie’

from ‘Untitled.02’

from ‘The Body: In Three Parts’

from ‘The End’

from ‘Untitled.02’

from Lesbian Stone Soup

from Lesbian Stone Soup

from Lesbian Stone Soup

from Lesbian Stone Soup

from Lesbian Stone Soup

from Works

from Works

from Works

from Works

from Works

from The Three Angels

from The Three Angels

from Bird after Bird

from Dream city

from Bird after Bird

from Restless

from Restless

from Restless

from Restless

from Restless

'Perfectly' 2023 Glitter paper, printer ink, assorted stickers. 21 x 29.7 cm

from A4 Works On Paper

from Bows

from Bows

from A4 Works On Paper

from A4 Works On Paper

from Gabriel Christys

from Gabriel Christys 2022-2023

from Gabriel Christys 2022-2023

from Gabriel Christys

from Gabriel Christys 2022-2023

from ‘Printed Luxury’

The photocopied image of gloves on silk is a striking image that is reminiscent of the Abstract Expressionism movement. This helps the work to be more contemporary as contributed by how the silk material ripples in the breeze.

from ‘Printed Luxury’

from ‘Printed Luxury’

1970 Slovakian Magazine Clip from 'Politician, An Entertainer' - 'Big White Star'​ Translated Text is about the discovery of a Star in Neptune. The article leads on to the affect scientific discoveries have on the world, whether that leads to mass panic or excitement.​

from ‘Printed Luxury’

Photo Scanned Envelope Printed onto Silk.

from ‘Printed Luxury’

from WASTE NOT WANT NOT

from WASTE NOT WANT NOT

from WASTE NOT WANT NOT

from WASTE NOT WANT NOT

from WASTE NOT WANT NOT

from Sum Wrk

from Sum Wrk

from Sum Wrk

from Sum Wrk

from Sum Wrk

from Autumn, Winter

from Spring

from Autumn, Winter

from Spring

from Autumn, Winter

Styrofoam mannequin head featuring a blonde synthetic wig decorated with small blue flowers. The wig swirls over the face which is painted in a Rococo style makeup. The head is on a gold plinth in front of a pink background.

from LET THEM EAT CAKE

from LET THEM EAT CAKE

from LET THEM EAT CAKE

from LET THEM EAT CAKE

from LET THEM EAT CAKE

from THE MAN OF HIS DREAMS

from THE MAN OF HIS DREAMS

from THE MAN OF HIS DREAMS

from THE MAN OF HIS DREAMS

from THE MAN OF HIS DREAMS

from ‘Been Trying To Reach You’

from ‘Been Trying To Reach You’

from ‘Been Trying To Reach You’

from ‘Been Trying To Reach You’

from ‘Been Trying To Reach You’

from Untitled

from TIME

from Time I Spent

from Morning, Afternoon, Evening Train

from Untitled

from Setting the Table

from Flowers in Vase, Window Installation

from Flowers in Vase, Window Installation

from Setting the Table

from Setting the Table

from ‘TRAPEZE’ – A Solo Exhibition by Eva M.V. Hewitt

from ‘TRAPEZE’ – A Solo Exhibition by Eva M.V. Hewitt

from ‘TRAPEZE’ – A Solo Exhibition by Eva M.V. Hewitt

from ‘TRAPEZE’ – A Solo Exhibition by Eva M.V. Hewitt

from ‘TRAPEZE’ – A Solo Exhibition by Eva M.V. Hewitt

from X on Canvas

from X Bench Installation Shots

from X Bench Installation Shots

from X on Canvas

from Big X 2

from Grid

from Beam and doors

from Beam and doors

from Yellow grid

from Roof

from ‘O,o,o,o,o,o,o’

from ‘Untitled VI’

from ‘Sitting ducks II’

from ‘Untitled (composition with wood)’

from ‘Sitting ducks II’

a humanoid figure looks to the right against a blue background. He's standing in a field of flowers with clouds in the sky
Etching print where the majority of the image has been masked by the process but parts of plants still show

from Etching

A photograph of a white wall with a black and white booklet on to the right of that looks into the degree show space which has grass on the floor and a giant blue painting of a humanoid with a tree growing out of their head

from Degree Show

looking through a hole in a damaged planet to see stratigraphic layers from undersea through the earth to outerspace.

from Lithography

dark etching print where the image is startin to be masked by dark patches

from Etching

a rich green curvilinear forest floor with some trees in the background.

from Paintings from year 4

from Kate Scheibli

from Kate Scheibli

from Kate Scheibli

from Kate Scheibli

from Kate Scheibli

from Tractors 2

from Motorcycle on Trailer

from Tractors 1

from Trucks

from Tractors 2

from Memories of Motherhood

from Memories of Motherhood

from Memories of Motherhood

from Memories of Motherhood

from Memories of Motherhood

from Lamps in Accelaration

from Lamps Drawing

from Floating lamps

from Floating lamps

from Lamps in Red

from Degree show

from Degree show

from Buddha (Series)

from Buddha (Series)

from Buddha (Series)

from Nord Gren ( A Collection of Field Recordings)

from Nord Gren ( A Collection of Field Recordings)

from Nord Gren ( A Collection of Field Recordings)

from Mono-screen prints

from Exhibitions

from Paintings

from Exhibitions

from Lithography

from The Picture Box – Installation

from The Picture Box – Installation

from The Picture Box – Installation

from The Picture Box – Installation

from The Picture Box – Installation

from Following Mother

from Do you see the horse?

from Do you see the horse?

from Swimmers

from Storm

Image of a print showing an owl

from Handle With Care

from Handle With Care

from Handle With Care

from Handle With Care

from Handle With Care

from Tension, Repose

from Allegro

from Negative Space

from Tension, Repose

from Consonantia

from The Kingdom of Caring

from The Kingdom of Caring

from The Kingdom of Caring

from The Kingdom of Caring

from The Kingdom of Caring

from ROCK PAPER SCISSORS

from ROCK PAPER SCISSORS

from ROCK PAPER SCISSORS

from ROCK PAPER SCISSORS

from ROCK PAPER SCISSORS

from GREEN 1

from FLAG 1

from FLAG 2

from CANTON

from GREEN 1

from FOUND SELF

from FOUND SELF

from FOUND SELF

from FOUND SELF

from FOUND SELF

from Series Of Cyanotype Prints

from Untitled – 2023

from Series Of Cyanotype Prints

from Form as Shape – Series of Smaller Works

from We Are All One, We Are No One

from ‘Word Over Word’

from ‘Side By Side’

from ‘Side By Side’

from ‘The Walls Are Talking’

from ‘The Walls Are Talking’

from Artworks

from “UTILE” – Publication

from Artworks

from Artworks

from Artworks

from Install shots for Degree Show

from Selected Works 2023

from Other Works 2022/23

from Other Works 2022/23

from Install shots for Degree Show

Behind the hap frame in "they are containers of fluidity" is hung a lithography print of a 35mm film photograph. This makes up the performative gesture of the work titled “pegging down their lace”. The lithography print is made of four coloured layers (cyan, magenta, yellow, and black) to create a full colour image. It retains the quality of the original film photograph. The white paper is pinned at the four corners with sewing pins into cork behind. The image itself is set amongst the mossy, loch edge in the Kilpatrick hills, just outside Glasgow. The blue ripples of loch Humphrey are just visible on the top edge of the image. Two young, white hands touch the knitting and steel knitting needles – pinning it out on the grass and moss. Small moss sporophytes peek through some holes in the lace. There is a gentle light settled across the photo and small shadows of the knitting needles are cast on the hand closest to the foreground.
A quilt frame made of oak, cherry, and iroko wood stands in the space. The sturdy and delicate wooden structure has been sanded, oiled, and waxed so it is smooth and sumptuous to the touch. It has two legs with decoratively detailed feet. On one end it has two wooden cogs which help turn the beams and the quilt. A quilting frame is somewhat like a hollow table, with moving parts, to allow a quilt to be stretched across its limbs. Upon this frame a naturally dyed quilt is stretched.

from “they are containers of fluidity”

In the right-hand corner sits a wooden chair. It is made of a variety of woods, carefully pieced together and oiled. It sits fairly low to the ground and has a wide, deep seat. The back is made in a lattice formation, and on the support beams below the seat a quilt is draped. The quilt is a scrap block that uses leftovers from all the other naturally dyed objects within the installation. The three layers have been sewn together and bound, and it now lies folded, almost touching the floor.

from “they are containers of fluidity”

The image itself is set amongst the mossy, loch edge in the Kilpatrick hills, just outside Glasgow. The blue ripples of loch Humphrey are just visible on the top edge of the image. Two young, white hands touch the knitting and steel knitting needles – pinning it out on the grass and moss. Small moss sporophytes peek through some holes in the lace. There is a gentle light settled across the photo and small shadows of the knitting needles are cast on the hand closest to the foreground.

from “pegging down their lace”

A hand-lathed circular oak pole, with a few delicate details, is hung in front of the window. It is attached with two wooden pegs, like found on the spinning wheel on the opposite side of the space. From this wooden pole hangs a white quilt top. It is made of parts of a linen tablecloth and has hand-knitted Shetland lace sewn amongst them. The top is folded over the wood and pinned with simple white sewing pins to keep the fabric in place. When the late afternoon and early evening sun shines, a strong light comes through the window. The window frames cast shadows across the two larger walls, the floor, and the lace inserts cast more delicate shadows too.

from “they are containers of fluidity”

A hand-lathed circular oak pole, with a few delicate details, is hung in front of the window. It is attached with two wooden pegs, like found on the spinning wheel on the opposite side of the space. From this wooden pole hangs a white quilt top. It is made of parts of a linen tablecloth and has hand-knitted Shetland lace sewn amongst them. The top is folded over the wood and pinned with simple white sewing pins to keep the fabric in place. When the late afternoon and early evening sun shines, a strong light comes through the window. The window frames cast shadows across the two larger walls, the floor, and the lace inserts cast more delicate shadows too. If a hand is held up to the piece, a delicate pattern of holes will be shadowed upon the flesh.

from “they are containers of fluidity”

from Waterworks, 2023

from A Collab Space

from A Collab Space

from A Collab Space

from A Collab Space