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Nan Nan Liu moved from Luo Yang, China, to England where she attended a foundation course at Dudley College then perfected her skills with John Bartholomew and Malcom Appleby. Now, her work – objets d’art and accessories made from layers and layers of paper and silver and “a lot of soldering” – is inspired by nature: the age rings in trees, the forms that water can take, hair and even smoke.
Liu’s creations in silver and gold are collected worldwide, privately and by institutions such as the Victoria & Albert Museum and Goldsmiths' Company.

Henning Koppel was a Danish artist and designer. He studied at the Royal Danish Academy of Fine Arts's School of Sculpture in 1936–37 and at Académie Ranson in Paris in 1938. He is most known for his work for Georg Jensen in the years after World War II. He also designed porcelain, glass and lamps.
Unlike other European companies, which preferred anonymity, Scandinavian firms such as Georg Jensen promoted their designers and encouraged them to make a name of their own.

Considered one of Denmark's most influential 20th-century furniture and interior designers, Panton was already an experienced artist in Odense when he went to study architecture at the Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi) in Copenhagen, graduating in 1951. During the first two years of his career, 1950–1952, he worked at the architectural practice of Arne Jacobsen, another Danish architect and furniture designer and went on to become best known for his furniture, particularly the 'Panton' chair, heralded as the world's first moulded plastic chair.

Graduated from the Glasgow School of Art in 2017 with a BA in Silversmithing and Jewellery Design. Now working as a Glasgow based self-employed silversmith.

Beryl Dean was a leading exponent of modernist design in ecclesiastical embroidery; she introduced an entirely new approach to a field hitherto limited to a traditional Victorian style. Her most notable works included five large panels for St George's Chapel, Windsor, which were made between 1969 and 1974 and, in 1977, she designed the Silver Jubilee mitre, stole and cope for the Bishop of London. The cope was particularly spectacular, depicting 73 London churches with St Paul's rising up behind them, entirely embroidered in metal thread. The same year she completed the Dean and Canon's cope for the enthronement of the Archbishop of Canterbury. Beryl Dean was born on August 2 1911 and studied embroidery at the Royal School of Needlework, where she worked with the stitchery experts Rebecca Crompton and Elizabeth Grace Thomson. In 1935 Beryl Dean was awarded a Royal Exhibition to the Royal College of Art, after which she embarked on a career teaching various aspects of textile crafts, including millinery and dressmaking. She also designed for the ballet, and ran a small studio making costumes, dresses and hats. Beryl Dean lectured at Eastbourne School of Art from 1939 until 1946, when she took a post as lecturer at King's College, Newcastle upon Tyne. She became involved in the Needlework Development Scheme, set up to encourage embroidery, which had started to die out in schools. In 1975 Beryl Dean was appointed MBE for services to embroidery for the church.

Born 30/11/1928. GSA student c1947-1951. After GSA she applied to work at DIOR but their "quota" of foreign workers had already been met. She was the youngest of 4 children, all of whom became educators (two brothers became university lecturers and she and her sister became teachers). She was one of the first in Scotland to return to teaching after having children. Latterly she taught in England before retiring and returning to Scotland.

Aillie Anderson is a Silversmith and Jeweller whose work draws inspiration from the built environment around Glasgow, particularly the modern architecture and industrial structures of the city and aims to highlight appreciation of the overlooked details found within the urban setting. Graduating from The Glasgow School of Art’s, Silversmithing and Jewellery Design in 2017, her work focuses on a unique combination of distinctively textured, scored precious metal alongside hand-cast jesmonite to create a divergence between material quality, surface texture and weight. Aillie’s work accentuates the scale of the existing structures through reinterpretation into visually stimulating, precious pieces of worn adornment and silverware.

Graduating in 2019 from the Glasgow School of Art with first class honours, Will went on to take part in the Artist in Residence program at the Glasgow School of Art until spring 2020. He was the 2019 recipient of the Hallmark Studio’s New Designers Award and the Association of Contemporary Jewellers Mark Fenn Award.

Believed to be the Mayer who was son of Samuel Mayer, a tanner and currier, and born at Newcastle-under-Lyme, Staffordshire, in 1803. At the age of twenty. Joseph settled in Liverpool as a jeweller and goldsmith: successful in business, he was able to indulge his passion for collecting. Mayer retired from business in 1873, and died unmarried at Pennant House, Bebington, Cheshire, on 19 January 1886, aged 82. His private library, prints and manuscripts were dispersed by auction in 1887

Believed to be the Richard Turner who was son of Robert Turner of Wolverhampton, bucklemaker. Richard Turner may also have started as a bucklemaker but from street directories from 1802 onwards, he is listed as Silversmith, at 31 St John Square, Clerkenwell where he had a number of apprentices over the years, including his son George in 1808.

William Knight II & Samuel Knight entered a mark together on 24th January 1810 as small-workers. It is believed that they may have been brothers.
No record of apprenticeship or freedom.

Lilian (Lin) Lawrence (nee Muir) graduated from The Glasgow School of Art with a Diploma in Drawing and Painting in 1947. She was the daughter of Mr Malcom Muir, a teacher in the Mathematics Department of the High School of Glasgow from 1922-40, who later became Headmaster of Dinard Street.

Her interest lay with fashion design and make up supervision. She became a fashion artist in the early days of television and worked for ATV in London and then for Granada television in Manchester in the 1960s and was involved with some of the earliest Coronation Street productions. She was also involved with make up and the production of Orpheus in the underworld at the Sadler Wells theatre in London around 1960 and subsequently other classical plays.

Valerie Wilson, later Bloomfield-Ambrose, was born in Glasgow, Scotland in 1934. She was a painter, sculptor, art educator, actor, stage designer, costume designer, and singer. She studied at The Glasgow School of Art from 1953 to 1957 and received a Bachelor in Fine Arts. Subsequently, she went to Jordanhill Teacher Training College in Glasgow.

In 1959, she moved to Jamaica with her partner, Andrew, and taught art in various schools. She taught anatomy, life-drawing, and painting here. Valerie was a distinguished artist in Jamaica, having painted several prominent leaders in the country. In the 1970s, she moved to the United States of America with her next husband, John. She lectured at several schools and performed in theatres there. She was commissioned for portraits by various people across the state of New York. In 1980, she completed a Master’s Degree in Fine Arts from the American University in Washington, D.C. In 2012, she received an honorary Doctor of Letters from the University of the West Indies. She won numerous awards throughout her life for her artistic skills and teaching abilities. Furthermore, she was active in sports including tennis, squash, and hockey. She encouraged young women to discover careers in art instead of as a past time. Unfortunately, after living with cancer for 10 years, Valerie died on 9th January 2018 at the age of 83.

Sofia Mellander, who also goes by the stage name Salt, is a sound artist, musician, and filmmaker. Her work spans from pop music to hymns, to binaural experiences and documentaries. Themes found in the work include incels, assisted suicide, sex, and how insane it was that Brian from the Beach Boys wrote that song ‘Hey Little Tomboy’. Her practice at GSA ventures into more experimental areas, with less rigid narrative and sonic structures than she’s previously explored.

Mellander was born in Stockholm, Sweden - but has lived in Miami (USA), Costa-Rica, Ghana, Germany, England and Scotland since she was four. She currently works and performs in Glasgow.

Devlin was born in Geelong, Victoria, in 1931. From 1951 to 1955, he taught gold and silversmithing in the town of Wangaratta. He went on to study at the Royal Melbourne Institute of Technology in 1957 and earned a scholarship to the Royal College of Art in London in 1958. Devlin was awarded a two-year Harkness Fellowship by the Commonwealth Fund, which he used to spend time at Columbia University in New York City.
After returning to Melbourne, he won a competition to design Australian coinage in 1964. His initials are still on the 1966 Australian 50-cent coin. A year later, he moved back to London and opened a workshop. There, he began producing limited-edition Christmas boxes and Easter eggs, which continue to be highly prized by collectors. Devlin also took commissions for coins and medals from countries around the world. From 1979 to 1985, he operated a popular showroom on London’s Conduit Street.
Devlin was widely acclaimed and recognized for his work over his long career. In 1982, he was granted the Royal Warrant of Appointment as Goldsmith and Jeweller to Her Majesty the Queen. From 1996 to 1997, he served as the Prime Warden of the Goldsmiths’ Company. In 2000, he designed a coin series for the Summer Olympics in Sydney.
Devlin retired to Littlehampton, West Sussex, where he died in 2018 at the age of 86. As described in his obituary in The Guardian Devlin sought to bring “delight, surprise, intrigue and even amusement” to modern style.

The Dublin silversmith Samuel Neville specialised in flatware. He was based in various locations throughout his career, 9 Hoeys Court 1769-1803; 30 Great Ship Street 1806; Freeman 1795; registered 1796; elected Warden 1804-7; elected Common Council City of Dublin 187; Master 1807-8, 1827-8; died 1851

Dan Hou graduated from The Glasgow School of Art with an MDes in Fashion and Textiles in 2022. They won the postgraduate Chair Medal for Design, 2022. His artist statement reads: "I am a fashion designer from China. As an undergraduate, I took my menswear collection to Milan Fashion Week. In addition, two of my menswear collections have been photographed in collaboration with Vogue. I also have my own virtual fashion brand available in mainland China. My design approach combines Silhouette exploration, silhouette experimentation, three-dimensional tailoring, and minimalist graphic design with sustainable processes".

Mary Newbery Sturrock (1892-1985), née Mary Arbuckle Newbery, was a Scottish artist who worked primarily in watercolour, embroidery and ceramics. The daughter of Francis Henry Newbery, Director of The Glasgow School of Art 1885-1918, and Jessie Newbery, designer, embroiderer and Glasgow Girl, she grew up in Glasgow with her elder sister Elsie (Margaret Elliot). Between 1911 and 1914, Mary studied in the Life School of Drawing and Painting at The Glasgow School of Art.

Her closest friend and artistic contemporary was Cecile Walton (1891-1956), daughter of the artists Helen and Edward Arthur Walton. The Newberys and Waltons were close family friends, renting houses near to each other in Suffolk as part of a wider artistic community that visited the area. This community also included William Oliver Hutchison and Eric Robertson, who became Cecile Walton’s first husband. A 1912 painting by Cecile depicts Eric and Mary posed languorously in a garden, Robertson reclining and Newbery sitting with a crown of flowers in her lap; a nod toward the symbolism that flowers hold in Newbery’s own work. The painting, ‘Eric Robertson, 1887 - 1941. Artist. With Mary Newbery, 1890 – 1985’, is held by the National Galleries of Scotland and displayed at the Scottish National Portrait Gallery.

Cecile Walton later introduced Mary to her own husband, the painter Alick Riddell Sturrock (1885-1953). The pair met in Suffolk and married on 21 October 1918 once Alick had returned from the First World War. Their wedding was held at Corfe Castle in Dorset, where Mary’s parents had moved upon Francis Newbery’s retirement. After the war, both Mary and Alick exhibited as part of the Edinburgh Group of artists, initially formed in 1912 and reconstituted in 1919, alongside artists including Cecile Walton, Eric Robertson, David Macbeth Sutherland and Dorothy Johnstone. The group held annual exhibitions at the New Gallery in Shandwick Place in 1919, 1920 and 1921. In the 1920 exhibition, a set of Mary’s embroidered cushions were reviewed favourably in The Scots Pictorial, which noted Newbery’s ‘fine sense of colour and design’.

In 1926, Mary and Alick moved to Gatehouse of Fleet, where they lived until 1934. In 1935, the couple moved to Edinburgh and lived at 2 Mansfield place until around 1945, when they moved to 13 South Gray Street where Mary would live the rest of her life. GSA holds a number of copies of a hand-drawn and printed change of address card for this move. Between 1935 and 1952, while living in Edinburgh, Mary submitted at least one watercolour per year to the Royal Scottish Academy exhibition. Examples include 'A July bouquet' (1940) and 'Dusty miller posy' (1946), which are demonstrative of Mary’s artistic style and practice and her unceasing interest in natural themes and subjects. Newbery also exhibited across her career at the Royal Glasgow Institute of the Fine Arts, where she showed some of her earliest works. Between 1911 and 1949, a number of pieces exhibited in the Royal Scottish Academy were also shown in Glasgow.

Mary’s best known and most recognisable works are watercolour paintings of flowers, which she made throughout her life. Her early work was especially influenced by Charles Rennie Mackintosh, whom, a close friend of the Newbery family, she had grown up around and often watched draw. Towards the end of his career, Mackintosh worked on his own botanical watercolours, and the two would often paint the same flowers. Mary would provide their Latin names so Mackintosh could inscribe them correctly. Whilst Newbery Sturrock and Mackintosh remained close friends throughout his life, her later work deviated somewhat from his influence and became more naturalistic.

Following the death of her husband in 1953, Mary travelled extensively. Later in life, she gave various interviews to art historians and biographers about her knowledge of The Glasgow School of Art, her father Francis Newbery and both her own and her father’s relationship to Mackintosh. For example, in 1973 she spoke with June Bedford and Ivor Davies for Connoisseur magazine about Mackintosh, and in the early 1980s, spoke with Anthony Jones (director of GSA 1980-6) about the history of The Glasgow School of Art, Fra Newbery and Mackintosh.

In 1983, a touring retrospective devoted to the Edinburgh Group was held at the City Art Centre Edinburgh in which both Mary and Alick were profiled. Mary exhibited examples of work across the applied and decorative arts, including floral watercolours, embroidery, ceramics and a sketchbook containing pen, ink and watercolour sketches of figures and flowers. Two years later, in 1985, Mary passed away aged 93.

Isobel Johnstone is an artist and curator from Glasgow. She studied Fine Art at Edinburgh University and College of Art and between 1969 and 1973, worked as a Lecturer in art history and drawing tutor at Glasgow School of Art. In 1975, she published her PhD thesis on Walter Crane under her then married name Isobel Spencer. Between 1975 and 79, she worked in Edinburgh as Curator of the Arts Council Collection and subsequently moved to London as Head of the Arts Council Collection. She retired in 2004 in order to devote time to painting.

Sigrid Appleby was an artist based in Scotland.

James Abbott McNeill Whistler (10 Jul 1834–17 Jul 1903) was an American painter and printmaker, working primarily in the United Kingdom. He was a key proponent of the credo “art for art’s sake”, refusing sentimentality and art for moral teaching and allusion.

Lewis Foreman Day (29 Jan 1845–18 Apr 1910) was a British decorative artist and industrial designer. He was an important figure in the Arts and Crafts movement who belonged to the same school of artist–craftsmen as William Morris and Walter Crane.

Charles Boyton was a well known silversmith working in the early part of the 19th Century in the Clerkenwell area of London.
In 1825 he registered his first hallmark from his workshop in Europia Place moving on to Wellington Street in 1830. He registered further marks in the 1830s.
The firm thrived and moved to Northampton Square in Clerkenwell in 1849 under Charles Boyton II, the son of the founder, changing its name to Charles Boyton & Son. Charles Boyton junior died in 1899 and the firm continued on under Charles Holman Boyton his grandson who died in 1904. The firm converted to a limited company in 1919 as Charles Boyton & Son Ltd.
Under Charles Holman Boyton’s son (Charles Boyton III), the company became a wholesale manufacturer of electroplate and silver.
Due to economic difficulties, a new company was created in 1933 called Charles Boyton & Son Ltd and changed premises to Wardour Street in Soho, London where it operated from 1936 to 1977.
Charles Boyton III left the company in 1934 and formed his own business in Marylebone Lane with a retail outlet in Wigmore Street. He produced Art Deco pieces which were engraved with a facsimile of his signature. This ceased trading around 1948.

Edinburgh based silversmith.

Patrick Robertson, Edinburgh silversmith, worked between 1751 and 1790. Born in 1729, apprenticed to Edward Lothian in 1743. Deacon in 1755 and 1765, and a member of the Royal Company of Archers. He was related to the architect Robert Adam.

Len Goetzee is a queer artist living and working in Glasgow. Through a trans methodology of collapse and dispossession they dismantle delineations between music, voice and the written word to excavate a past enmeshed with the non-human and the more than human. Binaries breakdown and temporalities become twisted; an anti-propulsive practise reversing into queer resistance and into old futures.

Recent performances: Academy Late, New Contemporaries. RSA (2023); A Very Heavenly Social, Dissenter Space. (2023); New Contemporaries. RSA (2023); Cabbage Arts, French Street Studios (2022); GSA Postgraduate Show, Glasgow School of Art (2022); Baked Beans on the Doorstep, Old Hairdressers (2022); Strewn Taboos, Barnes Garage, GSA (2022); Tête-à-tête, Stereo (2021)
Education: MLITT Fine Art Practice, Glasgow School of Art (2022); BA(Hons) First Class Honours, Duncan and Jordanstone College of Art and Design (2021).
Awards: RSA Friend’s Award (2023); Chair’s Medal, Glasgow School of Art (2022); DCA Prize (2021); RSA New Contemporaries (2021); Woooosh Portrait Prize (2021)

Elpida Hadzi-Vasileva is a contemporary visual artist working across varied media of sculpture, installation, video, sound, photography and architectural interventions. She graduated from The Royal College of Art with an MA in Sculpture and The Glasgow School of Art with a BA (First Class Honours) in Sculpture.

Her materials range from the extraordinary to the ordinary and the ephemeral or discarded to the highly precious; they have included organic materials, foodstuffs and precious metals, such as caul fat to gold leaf. Central to her practice is a response to the particularities of place; its history, locale, environment and communities. Elpida has worked in collaboration with many other professionals and organisations including the RSPB, and the Forestry Commission to The Vatican, and from Cathedral settings to National Trust properties as well as contemporary visual arts organisations such as MIMA and Djanogly Gallery, and understand the complexities of place and negotiations necessary to realise work in diverse often fragile settings. Hadzi-Vasileva is interested in how the exchange of knowledge might develop through collaborative working and in the contexts of landscape, heritage, science and community as offered by each location.

Elpida Hadzi-Vasileva was commissioned by the Vatican as part of the Pavilion of the Holy See, at the 56th International Art Exhibition, and represented Macedonia at the 55th International Art Exhibition, La Biennale di Venezia. In 2017 she received Grand Prix, Osten Biennale for Awarded Authors in Macedonia, and in 2016 Golden Osten Award, at the Osten Biennial of Drawing in Macedonia. Other awards including from Wellcome Trust, Pollock-Krasner Foundation, Arts Council England, Ministry of Culture of Macedonia. Her artworks have been commissioned and developed in urban and rural sites, in interior and exterior spaces, including The University of Nottingham; Djanogly Gallery, Nottingham; Daniele Arnaud Gallery, London; Nymans Gardens; Fabrica Gallery, Brighton; Mottisfont Abbey, Romsey; Pied à Terre, London; Gloucester Cathedral, Bennachie, Aberdeenshire; L’H du Siège, France; Kilmainham Gaol Museum, Ireland.

Hadzi-Vasileva’s artworks are in public collections including Luxelakes a4 Museums, Chengdu, China; The Vatican; Office of Public Works, Dublin, Ireland; Križanke, Ljubljana, Slovenia; Casoria Contemporary Art Museum, Napoli, Italy; Osten, Skopje, Macedonia; MIMA, Middlesbrough and New Hall Art Collection, Cambridge and private collections around the world.

Hock Aun Teh (郑 傅 安) (b. Malaysia), was the first graduate of The Glasgow School of Art’s Drawing and Painting Department from Asia, (studying 1970-1974). Teh was born to Chinese parents and grew up in Sungei Gedong, a remote village in Malaysia, and did not know where Glasgow was until he applied for a visa. He was trained originally in Malaysia focusing in traditional Chinese ink painting, focusing on birds, bamboo, flowers and landscapes with waterfalls. Teh considers his work contains four different cultural elements: his sense of colour which is bright and strong, and is unmistakably tropical; the calligraphic effect, which is Chinese; the materials, which are Western and his techniques, which are unique and personal to his ways of working. His works are in collections including GOMA and The National Art Gallery of Malaysia.

In recent years, Hock-Aun has begun to include sculpture in his oeuvre. This has resulted in several large-scale public commissions in mainland China, including a piece for the 2008 Beijing Olympics, a 17.2m painted steel structure for Yantai Universal in Yantai (2010), a 4m bronze for the City of Tonglin (2013) and an 8m painted sculpture for The City of Chang Chun (2019).

He holds Black Belt 6th Dan in Taekwon-Do and is the Grandmaster and Founder of Tukido.

Louis Syed-Anderson (b.2000) graduated from the Fine Art Photography BA (Hons.) programme at The Glasgow School of Art in 2022, and began his MFA at The Glasgow School of Art in the September 2022. He was the recipient of The Chair’s Medal for Fine Art in 2022, as the top graduating student from The School of Fine Art at GSA.

Artist’s Statement, June 2022:
Within my recent work, I have been concerned with how my practice can stand as a constantly evolving document of my perception of the environments that I navigate. With a focus on the physical materiality of these places, I am interested in the marks of human interaction left behind, and the remnants of the past ingrained within them. I translate my understanding of these spaces through process – realising my practice through multimedia installation-based work, in particular. I want the viewer to experience, physically navigate and perceive my work in their own way – echoing the way that I interact with these spaces from which I draw inspiration.
I pay close attention to the history and depth of temporality ingrained in various sites – particularly within the material landscape. In the context of my practice-based and wider research, I have considered the physical existence of matter, and its ability to reveal history ingrained in the materiality of place. Moreover, I have begun to explore interrelations between human and non-human matter, and our inextricable link to ‘memory objects’ within which our history is encapsulated.

Bernard Harrington was a Silversmith, Designer and Lecturer. He was Head of the Silversmithing and Jewellery Department at the Duncan of Jordanstone College of Art and Design at Dundee. He was the first Head of that Department and taught at the College from 1943 until 1974.
Prior to his arrival in Dundee, Bernard Harrington is thought to have been based in Sheffield, where he was noted as being a member of the distinctly 'modernist' Sheffield Artcrafts Guild in the 1930's.
A talented Silversmith, Bernard Harrington was the maker of several noted pieces of silverware during his lifetime. Perhaps the most important of his output was the Civic Mace of Dundee.

Head of Silversmithing Department at Edinburgh College of Art. Designed and made items to a very high standard. His mark was registered in both Birmingham and Edinburgh from the 1950s. He died in 2012.

Joined Garrard, The Crown Jewellers at age 15 and spent 34 years with the company, finishing as MD. In 1999 he launched my own business in St. James's to design, create and source unique silver and jewellery for the Worlds most discerning clients. A Freeman and Liveryman of The Worshipful Company of Goldsmiths, he maintains a passion for British craftsmanship and endeavours to only use UK manufacturers.

William Coghill registered his stamp at Glasgow Assay Office in 1856. Known for his flatware, he had premises on Stormont Street for several years.

Monika Keenan was born in Melbourne, Australia. Before moving to Glasgow, Monika lived and worked in Berlin, Germany. Monika graduated from the MSc in Heritage Visualisation at the Glasgow School of Art in 2022. She received the Chair’s Medal for the School of Simulation and Visualisation for her research. Monika’s work in digital heritage has focussed on the development of embodied experiences, blending digital objects or environments with the physical surroundings, and making the experiences user-friendly and engaging for everyone.

Born in Tobermory on Mull, Alexander Ritchie 0riginally trained as a marine engineer, the first twenty years of his adult life took him across the world with the British India Steam Shipping Company. It was not until he was in his 40s in the mid-1890s that he decided to take a break and enrol at the Glasgow School of Art. It was at the School that he met his future wife, Euphemia Catherine Thomson (1862- 1941) where their contemporaries included Charles Rennie Mackintosh and Jessie M King. Marrying in 1898, the Ritchies moved to the island of Iona and opened a shop and silversmithing workshop. Their business prospered and the couple became known for their "Iona Celtic Art" range, taking inspiration from Celtic culture and basing some of their designs on the carved stones found on Iona. Alongside souvenirs for visiting tourists, they produced a range of other works of art, some produced in factories in England using the Ritchies designs

Caroline Baumhauer graduated with a Master of European Design from the Innovation School at The Glasgow School of Art in 2023. She was awarded the Undergraduate Chair Medal for the Innovation School.

Rowan Meredith was born on the 14th of May 2001 in Amsterdam and spent 6 years there before growing up in Brighton. In Brighton she Integrated herself with the culture and pursued her interest in art where she attended a foundation year. During her time in Brighton she focused on landscape painting and figurative painting and drawing. After her foundation year she moved to Glasgow to explore the wider UK and undertook an undergraduate at The Glasgow School of Art. During this time, she focused on finding her core subject initially through experimentation with landscapes and allegorical or symbolism through large scale paintings. In her final year at art school, she focused on the symbolism of a world overwhelmed technological devices (initially lamps) represented as tangled immersive landscapes. This work began to receive recognition and was nominated for three prizes, including the Freeland's award. She also won the McBroom Prize in 2023. At the time of writing she is living, working and exhibiting in Glasgow.

Artist's Statement:
I like to experiment with amalgamating natural forms with technology and recently this has taken the form lamps that appear as the embodiment of the uncanny. Whilst lamps typically have the function of illuminating other objects, in my paintings the lamps and wires have a life of their own, reflexively illuminating nothing other than themselves. In both my theory and practice my focus is to re-imagine our relationship to the technological landscape by drawing literally on the traditions of landscape painting replete with strange organisms that create a sense of alienation. There is an irony in using analogue media to reflect on the digital and organic shapes to describe mechanical forms. The explore a variety of gesso, paint and drawing materials as part of an exploration of the immersive potential of larger scale painting that recuperates and deploys traditional compositional techniques, such as the Baroque diagonal. Despite the use of compositional techniques, and the figurative subject, the works are very much about the act of painting itself. Layering oil paints and acrylics allows me to describe layers of representation in my work, whilst the marks shift from line drawings to gestural painting. The dark earthy tones contrast the saturated hues, which support the sense of agitation the paintings aim to bring.

Born in Halmstad, Sweden, into a working-class Slovenian migrant family and returned to Slovenia during her school years. She has since then lived in several European countries. She moved to Scotland in 2018. Sarkezi's textile design practice is motivated and informed by her Slavic cultural background. Her work is grounded in the interwoven histories of rural material culture and post-colonialism in Central and Eastern Europe, where she questions the traditional use of floral patterns as national symbols. Her practice explores the relationship between organic and geometric shapes. Using the TC2 digital loom, Sarkezi constructs an imaginary space consisting of personal ornaments and motifs and bold and gradient uses of colour. This serves as a visual metaphor for the flux of movement and migration and an outlet for her narrative as a migrant.

Alex is a multidisciplinary artist, materials engineer and explorer. She returned to GSA as a mature student to formalise her practice in the sonic arts, graduating in 2023 with a B.Des. in Sound for the Moving Image (1st class honours) and winning the SIMVIS Chairman’s Medal. She believes that creative possibility is universal regardless of domain or resource - that the most innovative scientists have interests in the arts and vice versa.

Originally from Belfast, Alex lived, worked and expeditioned on all continents, often in remote cultures and landscapes, before setting up her studio by the sea in Scotland. Her practice explores the intersection between culture, arts and science to confront entrenched ideologies and beliefs. Her work incorporates light, sound, music, moving image, sculpture, writing and performance to create immersive experiences which challenge perceptions and stimulate empathy for the counterargument. Alex is concerned with 21st century “mauvais foi” (bad faith, Sartre), where we evade the responsibility of discovering and understanding ourselves and the consequences of our actions, failing to exercise integrity and autonomy in life choices.

Rachel Crooks was born in Lanark and grew up in the village of Blackwood in South Lanarkshire. She attended The Glasgow School of Art between 2017 and 2023, graduating from Architecture with a first Class Bachelors degree with Honours in 2022 and with a Diploma in Architecture in 2023. Crooks received the MSA Stage 4 BArch(Hons) Portfolio Prize and the GIA Stage 4 Student award for her work between 2021 and 2022. For her final year thesis, ‘Quarrying the Ruinscape’ she was awarded Glasgow School of Art’s 2023 Chair Medal for Architecture and was the recipient of the 2023 Charles Rennie Mackintosh Travelling Scholarship. She was a nominee for Glasgow School of Art’s Newbery Medal, the 3DReid Student Prize and the RIBA Silver Presidents Medal. She has practised as a Part 1 and Part 2 Architectural Assistant at the award winning Glasgow based practice, O’DonnellBrown.

Danish silversmith, believed to be based in Copenhagen, working in the early part of the C20th. Mark registered with the Danish Assay office between 1925 and 1948.
Online research suggests that the Danish hallmarking system is organized on a voluntary basis. The first Danish hallmarking was made in Copenhagen at the end of the 15th century. Later, other cities as Aalbotg, Aarhus, Odense and Viborg introduced their own mark as a guarantee of precious metals.
In 1893 the "Three-tower" mark of Copenhagen was adopted as the national mark in the new standardized hallmarking system. Copenhagen had the only Assay Office in Denmark.