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Digital painting of a mother and her child, displayed in an MDF lightbox.

Artist's description:

An observation or conversation will spark a body of work. In this case, it was a conversation I had with my Grandad talking about his late wife and my grandmother, June. This conversation entailed him showing me photo-albums that I had never seen, images of my mum growing up in Canada and images of June, a woman I had never met and barely knew what she looked like. I was struck by how few images there were of my mum with her mum in existence, especially in comparison to how many there are of my mum and me.

So, I began to digitally restore these rare photographs, multiplying them. I took photos on my phone of the photo albums to document the images and later reproduce them. I am interested in the varying semiotic languages of different material methods which drives extensive material processes in my practice. For example, once an image was digitally painted it would undertake different material processes including oil painting, projection, screen printing and inkjet printing onto backlit film. Marlene Dumas wrote in her poem Women and Painting: “Painting doesn’t freeze time. It circulates and recycles time like a wheel that turns”. This sums up exactly how it felt to reproduce these images across mediums. I was recycling the images into varying materials creating layers of memories that circulated them into the present. Moreover, the process of continually drawing June with varying techniques began to create a physical material connection to a pioneering woman I am related to but have never met.

Underpinning my practice is a fascination with how changing technologies have altered our relationship to memory and time. More specifically, I am intrigued with how technologies have come to visually represent generations. The technology of a time determines how things were visually documented, for example, to see June is to look through a physical photo album, to see my last family photo is now to look back on my phone’s camera roll. My practice explores how this disparity can be used to articulate the passing of time whilst simultaneously reproducing and restoring documentation of previous generations, increasing our connection to the past and understanding our present.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018.

Original: The Discobolus of Myron is a famous lost Greek bronze original that was completed towards the end of the Severe period, c460-450 BC. It is known through numerous Roman copies, both full-scale ones in marble, such as the first to be recovered, the Palombara Discobolus, or smaller scaled versions in bronze. Bought from Brucciani. Original currently in the collection of the British Museum, London, UK.

Folder containing correspondance related to commissions, a Scottish Arts Council bursary and the Invergordon Sculpture Competition 1971. Also contains a plastic pocket of handwritten notes on a London visit dated 30 Mar-5 Apr. Folder is labelled "Alfredo Avella Business Letters".

Photographs of the Bruce Hotel, East Kilbride, focusing on artwork within and on the exterior of the hotel. Several photographs are stamped with dates and/or photographers' names. A photograph of the restaurant area and a photograph of a woman examining an artwork in the function room both have a typewritten description attached.

The photograph shows Alfredo Avella seated at a desk in front of a whiteboard in his studio at the GSA Stained Glass and Murals Department in the Haldane Building. He appears to be reading from a page in front of him. On the left-hand edge of the picture there are two men facing towards Avella, apparently listening to him speak.

Folder containing teaching notes and various ephemera, including an invitation to a dinner at the Glasgow Art Club in November 1969 and a document relating to the revision of diploma courses at the Glasgow School of Art, dated January 1970

Cartoon of square window with abstract geometric design of parallel lines, ovals and semicircles, thought to be to-scale. Annotations note materials and dimensions.

Cartoon of design for 'Homage to Braque'. Pencil line-drawing featuring text, a pear and an abstracted string instrument surrounded by geometric forms and a fragmented checkerboard pattern.

A painting of the fifth station of the cross, Simon of Cyrene Helps Jesus Carry the Cross. The background is red and orange, with a section of blue at the top with three green trees. Jesus and the cross, centre, are rendered in lineart with no fill colour. Simon of Cyrene, left, is rendered in green. The painting features thick black boundary lines.

A painting of one of the stations of the cross with a red background. There is a blue section across the top with two green trees. Jesus and the cross, centre, are rendered with black lines and no fill colour. Above and to the right of Jesus is a figure painted in the same tones as the background. The painting features thick black boundary lines.

A painting of one of the stations of the cross with a red and orange background. There is a blue section across the top with two green trees. Jesus, centre, is rendered in black lines with some grey shading. The cross is rendered in black lines with no fill colour. A figure to the right of Jesus reaching toward his face, possibly Veronica, is rendered in black and red. There is a section of background to the left of Jesus which has been painted over in a wash of lighter, apparently blue, paint.

A painting of one of the stations of the cross with an orange and brown background. There is a blue section across the top with three green trees. Jesus and the cross, centre, and two faces in profile, bottom, are rendered in black lines with no fill colour. The painting features thick black boundary lines. Potentially an alternate version of item DC 102/1/70.

A painting of Jesus (right) addressing Pontius Pilate. The background is filled with loose brushstrokes of black and grey. Pontius Pilate is seated, dressed in green and red, his face is grey. Jesus is standing with his body facing forward, hands together in front of his body, and his head turned toward Pilate. Jesus is rendered with black lines with grey on his head and the top half of his body. Above his head are three faces rendered with loose black lines.

Cartoon of design for 'Homage to Braque'. Drawn in black and blue, featuring text, a pear and an abstracted string instrument surrounded by geometric forms and a fragmented checkerboard pattern.

A painting of the fourth station of the cross, Jesus Meets his Mother, with a red and orange background. There is a blue section across the top with three green trees. Jesus and the cross, centre, are rendered in cool grey tones. Mary, right, is rendered in blue. The painting features thick grey boundary lines.

A painting of the eight station of the cross, Jesus Meets the Women of Jerusalem. The background is red with a blue section across the top containing three tree shapes in olive green and blue tones. Jesus and the cross, left, are rendered in black lines with no fill colour. Three women, right, are rendered in purples. The painting features thick black boundary lines.

Cartoon of rectangular window with abstract geometric design consisting of parallel vertical lines with ovals and semicircles towards one end. Thought to be to-scale.

A painting of one of the stations of the cross with a red and orange background. There is a blue and green section across the top containing two red figures. Jesus and the cross, centre, are rendered in cool grey tones. In the bottom right there are three faces rendered in warm tones. The painting features thick black boundary lines.

A painting of one of the stations of the cross with a red, orange and brown background. There is a blue section across the top with four green trees. Jesus and the cross, centre, are rendered in cool grey tones. At the bottom of the page there are two faces in profile rendered in orange, red and brown. The painting features thick black boundary lines.

A painting of one of the stations of the cross. The background is made up of thickly-outlined curved shapes in red and blue. Jesus and the cross, centre, are rendered in black lines with no fill colour. There are three figures in the top right corner rendered in warm tones. In the bottom right corner are three faces in profile, facing toward Jesus, rendered in black lines with some red on the faces and shoulders of the lower two.

Cartoon of window design featuring a blue sky with clouds, abstracted botanical motifs and central lily flower. Includes annotations about colours and colour variations. Includes annotation which reads "5' x 2'" at vertical halfway point of design. Thought to be to-scale.

Cartoon of window design with arc at the top. Design features abstract pattern, possibly abstracted foliage, coloured with green or blue and purple hatching. The background is hatched with pencil lines and some yellow and red lines. Annotated "move up to meet repair". There are annotations in the margins of dimensions and of the locations of bars in the structure. Thought to be to-scale.

Drawing of a naked woman reclining on a background of small repetitive lines with her knees bent at her sides and her arms behind her head, a white outline of a mask on her face. Long fluid shadows wrap around her. There are blue highlight on her arms and legs. Annotated "Ellie" in bottom right corner.

Chalk pastel drawing on brown paper of a naked woman standing in front of a bright blue and pink background with her legs apart and arms crossed, looking to the left. Her long hair is being blown out behind her.

Painting of one of the stations of the cross. The painting has a red and orange background and a blue section of sky across the top with four trees. Jesus is kneeling with the cross and a woman stands in the bottom right of the scene. Both figures and the cross are rendered in cool grey tones. The painting features thick black boundary lines.

To-scale full-colour design for the Glasgow Police Federation Heraldic window, featuring central crest flanked by two dogs, banners with Latin motto, and a Glasgow street scene in the background. A separate piece of paper with a line drawing in black chalk pastel has been affixed over the right-hand dog's head. In five places, other pieces of paper have been glued down with corrections drawn on them.

Cartoon of window design featuring abstract pattern, possibly abstracted foliage, coloured with green or blue and purple hatching. Several of the coloured shapes have the name of the colour written on them. The background is hatched with pencil lines and some yellow and red lines. There are annotations in the margins of dimensions and of the locations of bars in the structure. Thought to be to-scale.

Sketch of window with rounded top, painted with yellow, blue, green and brown watercolour. Appears to be development sketch for Design B for Stairway Window. Design features circle in top right and clusters of small straight and curved lines creating a fragmented pattern. Parallel lines break the design into six sections. Annotations to the right of the design read "1 Building Jutting out. Beating in Design.. 2 Heavy colour out... 3 Low key Autumnal colours. 4 Can't be Totally indulgent and itself? 5 Quiet personality. BORDER". To the left of the design are two pencil sketches of rectangular forms with patterns of wavy parallel lines.

Drawing of a window design featuring a central panel with a knot pattern and a blue and green border, with two smaller panels on either side featuring the same border. There are sections around the central panel and above the smaller panels which have been shaded in with cross-hatching.

Abstract painting featuring a brown circle containing intersecting lines and coloured rectangles, on a black background. Signed 'Avella' in bottom right of circle.

Poster for a film screnning of 'Radio On' by Chris Petit in the Bourdon Lecture Theatre, Wednesday 12th January, 1:30pm

Information provided by Marc Baines, Lecturer in Communication Design.

Poster advertising a film screening of an Andrei Torkovsky film 'Mirror' in the Bourdon Lecture Theatre on Wednesday 12th March, 1:30pm.

Information provided by Marc Baines, Lecturer in Communication Design.

Part of 'Music And Some Other Arts'.

Child reading alphabet book. Signed "J.B.".

Pine Sprite 1, Archival Print on Inkjet Paper, Wood Sprite series, 2021.

Architectural drawing of the GSA Mackintosh Building. Scale 1:100.