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 ‘Printed Luxury’

Photo Scanned Envelope Printed onto Silk.

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’

from ‘Printed Luxury’

from ‘Printed Luxury’

from ‘Word Over Word’

from ‘The Walls Are Talking’

from ‘Side By Side’

from ‘The Walls Are Talking’

from ‘The Walls Are Talking’

from ‘Untitled (Beach house)’

from ‘asthecrowflies’

from ‘asthecrowflies’

from ‘View from the morning (composition)’

from ‘Continue to paint’

from FLAG 1

from CANTON

from LANDSCAPE 1

from FLAG 2

from FLAG 1

from Kate Scheibli

from Kate Scheibli

from Kate Scheibli

from Kate Scheibli

from Kate Scheibli

3D Painting. Photo still using Blender Software

from ‘Pharmacie’

from ‘The End’

from ‘A Love Letter to My Left Ear’

from ‘A Love Letter to My Left Ear’

from ‘Good Morning!’

from Degree Show

from Vans

from Motorcycle on Trailer

from Vans

from Motorcycle on Trailer

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 My Work

from My Work

from My Work

from My Work

from My Work

from Like a fish out of water

from The Theft of Something Dear

from Degree Show

from Twisted

from A pat on the wrong back

from Yellow grid

from Beam and doors

from Grid and door

from Grid

from Grid

from Works

from Works

from Works

from Works

from Works

from Buddha (Series)

from Buddha (Series)

from Buddha (Series)

from Buddha (Series)

from Degree show

from duster

from chairs

from bed

from lamp

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

from A4 Works On Paper

from A4 Works On Paper

from A4 Works On Paper

from A4 Works On Paper

from ‘A Place For Things To Gather’ Degree Show

from Gabriel Christys 2022-2023

from Gabriel Christys 2022-2023

from Gabriel Christys 2022-2023

from Gabriel Christys

from Gabriel Christys

from Morning, Afternoon, Evening Train

from Time I Spent

from Time I Spent

from Time I Spent

from TIME

from Autumn, Winter

from Spring

from Spring

from Autumn, Winter

from Autumn, Winter

from Degree Show

from Degree Show

from Mono-screen prints

from Mono-screen prints

from Degree Show

from Windex

from Windex

from The Cowboy Builders

from The Cowboy Builders

from The Cowboy Builders

from The Cowboy Builders

from The Cowboy Builders

from Lesbian Stone Soup

from Lesbian Stone Soup

from Lesbian Stone Soup

from Lesbian Stone Soup

from Lesbian Stone Soup

from Storm

from Following Mother

from Swimmers

from Following Mother

from Swimmers

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.

Behind the quilt frame, another quilt is hung on the wall. This one is finished. It manipulates a traditional ‘pine tree’ or ‘tree of life’ quilt block into a ‘bird/tree of life’ quilt. Again, the fabric is naturally dyed in community – with yellows, purples, pinks, and white predominantly making up the palette. This quilt is made of lots of carefully sewn triangles and bound at the edges with yellow-buddleia linen.

from “they are containers of fluidity”

A piece of knitted lace is stretched in the middle of the hap frame. It has been hand spun on the spinning wheel in the opposite corner. The wool comes from Shetland and is undyed and brilliant white. Full of sheepy texture, and smell. The lace is made up of a repeating ‘fir cone’ lace pattern and diamond motif. It is rectangular, with straight (as straight as knitting is) long edges, and scalloped short edges. The lace has been sewn into the frame with thin, white thread to join the knit to the holes in the wood.

from “they are containers of fluidity”

from from seed, to soil, to dye, to craft

from from seed, to soil, to dye, to craft

At the rear of the space a ‘niddy noddy’ and two small lithograph prints are hung. The ‘niddy noddy’ is a spinning tool for taking the wool off the wheel just after spinning. It is made of three pieces of hand-lathed pine wood, joined in two perpendicular T-joints. White hand-spun wool is looped around it in a figure-of-eight, with the remaining ball pinned to the wall beside the object itself. In front, stands the quilting frame covered in strong shadows.

from “they are containers of fluidity”

from Floating lamps

from Lamps in Red

from Floating lamps

from Lamps Drawing

from Lamps in Accelaration

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 of man on railway tracks with more plantlife

from Etching

white ink etching on black paper of a prototaxite forest.

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

View of three apocalyptic paintings on dark blue walls with a real grass floor

from Degree Show

a lithographic print of pile of plastic in the sea

from Lithography

from The Memory Collection

from The Memory Collection

from Bus Shelter

from The Memory Collection

from The Memory Collection

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 FOUND SELF

from FOUND SELF

from FOUND SELF

from FOUND SELF

from FOUND SELF

from Broken X (green, yellow), 2 Broken X’s

from X Bench Installation Shots

from X Bench Installation Shots

from X Bench Installation Shots

from X on Canvas

from Form as Shape – Series of Smaller Works

from Dance Of Despair

from Series Of Cyanotype Prints

from Form as Shape – Series of Smaller Works

from We Are All One, We Are No One

from Consonantia

from Tension, Repose

from Negative Space

from Tension, Repose