MLitt Fine Art Practice

Stow Building, 54 students

The Master of Letters in Fine Art Practice Programme at The Glasgow School of Art consists of the following combined disciplinary pathways: Painting, Drawing and Print Media, Photography and the Moving Image and Sculpture and Performance. The programme is studio-based and centred on practice and is intended to provide opportunities for students to pursue in-depth subject-specific study in fine art practice at postgraduate level. Undertaken over 12 months, the Programme encourages an intensive exploration of research and development of ideas from the outset, with the focus on the highest standards of practice and personal development as artists.

The students on the Programme work within the specialisms and across them, often identifying collaborative opportunities to engage with practice across the pathways and across programmes. The Programme has a diverse mix of both national and international students, attracting applicants from all over the world. This dynamic encourages the students to build a dialogue with their peers and identify meaningful connections, many of which lead to further collaborations beyond graduation from the School.

from Corndream

from Jungle

from Liam

from Imprinting

from Tear

from TIRE!TIRE!TIRE!

from From September to September

from JUMP!JUMP!JUMP!

from TIRE!TIRE!TIRE!

from Geometric symphony

from PROLIFERATION

from PROLIFERATION

from PROLIFERATION

from Nature · Woman · Creature

from Nature · Woman · Creature

from Nature · Woman · Creature

from Nature · Woman · Creature

from Nature · Woman · Creature

from After Image

from After Image

from After Image

from After Image

from After Image

from Walking Between Two Worlds

from Walking Between Two Worlds

from Mum’s Braiding My Hair, I’ll Braid Yours!

from Mum’s Braiding My Hair, I’ll Braid Yours!

from Husked by Words, Held by Land

from Yearning For Something That Never Belonged To Me

from Grass Series, Small Strings Cutting Like Whispers, 2025

from Greenock, 2025

from Grass Series 1, 2025

from Untitled 1, 2025

from Aberdeen, 2025

Acrylic and oil on canvas 200 x 200cm

from Renaissance au Clair de Lune

from The Blade of Redemption in Europa

from Rescuing Pony: Anatomy of Survival

from The Blade of Redemption in Europa

from Broken Wings: Soaring Through Imperfection

from Summer Night Fireworks

from Installation View

from Barefoot in Scotland

from Installation View

from What Is My Destiny?

from Blue Reverie

from And Yet

from Hands-On

from Traces of an Unseen Dialogue

from And Yet

from Childhood

from Childhood

from Sculpture

from Sculpture

from Childhood

from UNTITLED 02-04 & UPRIVER

from UNTITLED 02-04 & UPRIVER

from UNTITLED 02-04 & UPRIVER

from UNTITLED 02-04 & UPRIVER

from UNTITLED 02-04 & UPRIVER

from Identity, Spatial Emotion

from Identity, Spatial Emotion

from Identity, Spatial Emotion

from Identity, Spatial Emotion

from Identity, Spatial Emotion

from Connect

from Connect

from Connect

from Connect

from Connect

Oil Painting by Alan Brash, titled Liminal Comfort, 180 x 140 cm

from A Reflection of a Queer Life

Oil Painting by Alan Brash, Titled Indelible, 35 x 28 cm

from A Reflection of a Queer Life

Diptych, Oil painting by Alan Brash, titled Male in Shadow, 200 x 100 cm

from A Reflection of a Queer Life

Oil Painting by Alan Brash, titled 'Defiance', 180 x 120 cm

from A Reflection of a Queer Life

Oil Painting by Alan Brash, Titled Obfuscation I, 24 x 28 cm

from A Reflection of a Queer Life

My creative practice stems from an exploration of the parallels between natural camouflage and the construction of identity in human society. Leaf insects merge with their surroundings through their appearance in order to survive and remain unseen. Similarly, humans continuously modify their outward image—through clothing, objects, and external symbols—to adapt to different social situations and to be accepted within certain groups. In my view, camouflage is not merely about concealment, but also a deliberate strategy and a form of language. In my work, I combine leaf insects with human forms, adding daily objects that carry social meaning—assigning these mimetic beings new identities and roles. These figures exist between nature and culture, between authenticity and performance, forming visual allegories within the paintings. They pose questions: Who are we, really? Are we presenting the self, or a mask shaped by our environment? My work seeks a subtle tension between hiding and expressing, inviting viewers to reconsider the relationship between the individual and the surrounding world.

from Beneath the Shell

from Beneath the Shell

from Beneath the Shell

from Beneath the Shell

from Beneath the Shell

from Boundaries in Flux

from Boundaries in Flux

from Resonance of Body and Soil

from Resonance of Body and Soil

Textiles, wood, thread,30*50

from Topographies of Memory

from What I Saw

from Natural, Manufactured, Imagined

from Alternative Degree Show Ideas

from Alternative Degree Show Ideas

from Alternative Degree Show Ideas

from Concrete Island

from What in the World?

from What in the World?

from Blossom Bowl

from What in the World?

from My Body | My Land Installation

from My Body | My Land Photographs

from My Body | My Land Photographs

from My Body | My Land Installation

from My Body | My Land Photographs

from Take a Bite

from Sweet Trap

from Afternoon Tea

from Afternoon Tea

from Afternoon Tea

from The Distant Abyss

from The Root of Fear

from Dark Bloom

from Dark Bloom

from Cosmic Scar

from Gestures of Disruption

from Gestures of Disruption

from Gestures of Disruption

from Gestures of Disruption

from Gestures of Disruption

from Echoes of Memory

from Echoes of Memory

from Echoes of Memory

from Echoes of Memory

from Echoes of Memory

from Under the Crimson Shroud

from Under the Crimson Shroud

from Under the Crimson Shroud

from Under the Crimson Shroud

from Under the Crimson Shroud

from Gloaming

from Flamingo

from Ephemeral Woodland

from Blue Veil

from Ephemeral Woodland

from I, the Voyage-Craft

from I, the Voyage-Craft

from I, the Voyage-Craft

from The Tour Guide

from (23.8398900, 110.2622900)

from Works by Hannah Gibson

from Works by Hannah Gibson

from Works by Hannah Gibson

from Works by Hannah Gibson

from Works by Hannah Gibson

from Forged Horn

from Trap

6cm(diameter)x 30cm

from Forged Horn

from Anxiety

from Silent anger II

from New Eyes

from Kama Jing’s Degree Show

from Kama Jing’s Degree Show

from Starry Eye Glasses 1.0

from Kama Jing’s Degree Show

from Fragments I

from Fragments I

from Relief Series

from Fragments I

from Fragments I

from Maternal Cycle

from Maternal Cycle

from Maternal Cycle

from Maternal Cycle

from Maternal Cycle

from Under a Veiled Sky

from Under a Veiled Sky

from Under a Veiled Sky

from Under a Veiled Sky

from Under a Veiled Sky

from Miraculous Hours

from Miraculous Hours

from Miraculous Hours

from Miraculous Hours

from Miraculous Hours

from TWINS OF NATURE

from THE TRANQUILITY AFTER MUTATION

Liminal Space

from Liminal Space

18 x 26 cm Watercolor on paper, 2025

from Where The Window Was – 2

from Liminal Space

45 x 30 cm Watercolor on paper, 2025

from What The Room Remembers – 1

from Liminal Space

from Textile Work ( brutalism and texture)

Food, Acrylici Painting, fudge, abstract background

from Grid Series

from Grid Series

from Textile Work ( brutalism and texture)

from Textile Work ( brutalism and texture)

from el mar de plástico

from el mar de plástico

from el mar de plástico

from el mar de plástico

from el mar de plástico

from The Moon Eclipse is the Empty Full Moon

from The Moon Eclipse is the Empty Full Moon

from The Moon Eclipse is the Empty Full Moon

from The Moon Eclipse is the Empty Full Moon

The second piece uses cold, hard iron wire to outline the body's boundaries. In a state of anxiety, I often feel stiff, fragile, and unable to bear the weight of emotions. Therefore, I used cold, hard metal wire to construct an external framework of the body. On top of the iron wire structure, I attached fingers and expanded foam rubber to the body, symbolising touch and repair.

from Velvet Breath

from Velvet Breath

The third piece was inspired by the inexplicable anxiety I often feel, which has no source and lingers like a cloud of gloom. I created two suspended sculptures. One maintains a state of weightlessness through magnetic attraction, embodying the dual psychological tension of attraction and resistance. The other expresses the insecurity of emotions being manipulated, like the fear of floating in mid-air. The fingers on both works seem to manipulate emotions, revealing my inner struggle to control and suppress fragile emotions.

from Velvet Breath

from Velvet Breath

The first piece is a curled-up human figure made of foam rubber and wool felt. The foam rubber symbolises the accumulation, expansion, and loss of control of anxiety, while the wool felt, through slow, repetitive covering motions, symbolises the calming and healing of emotions, providing a gentle outer shell for psychological stress.

from Velvet Breath

from A glutton for punishment

from A glutton for punishment

from Between Lotus and Breast

from Between Lotus and Breast

from Milk

from Milk

from Between Lotus and Breast

from Welcome to My Puppet Show

from Other Works

from Welcome to My Puppet Show

from Welcome to My Puppet Show

from Welcome to My Puppet Show

from Explosion Capture Series

from Flash Powder Burn Series

from Flash Powder Burn Series

from Flash Powder Burn Series

from Explosion Capture Series

from un-earth

from Untitled #3 (degree show)

from Untitled #3 (degree show)

from Untitled #1 (degree show)

from Untitled #3 (degree show)

from Degree Show.

from Degree Show.

from Other Works

from Degree Show.

from Degree Show.

from Diamond

from Red House

from White Cliffs

from A Step Away

from Pulse