MLitt Fine Art Practice

Stow Building, 56 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 Summer Night Fireworks

from Installation View

from Installation View

from Installation View

from Installation View

from Yearning For Something That Never Belonged To Me

Liminal Space

from Where The Window Was – 1

from Liminal Space

from Liminal Space

from Liminal Space

from What The Room Remembers – 2

from New Eyes

from Kama Jing’s Degree Show

from Starry Eye Glasses 1.0

from Kama Jing’s Degree Show

from Kama Jing’s Degree Show

from Explosion Capture Series

from Burn Rate Series, St Peter’s, 2.41minutes

from Flash Powder Burn Series

from Explosion Capture Series

from Flash Powder Burn Series

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

from Diamond

from White Cliffs

from Red House

from A Step Away

from Pulse

from Fragments I

from Fragments I

from St Vincent Lane

from Fragments I

from Fragments I

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 PROLIFERATION

from PROLIFERATION

from PROLIFERATION

from ‘In No Particular Order’ (2025)

from ‘Surroundings’ (2025)

from ‘Parts of Mine’ (2025)

from ‘In No Particular Order’ (2025)

from ‘Parts of Mine’ (2025)

from New Build, First Ride.

from What in the World?

from Concrete Island

from Cyborgs

from What in the World?

from The Tour Guide

from I, the Voyage-Craft

from (23.8398900, 110.2622900)

from (23.8398900, 110.2622900)

from I, the Voyage-Craft

from Identity, Spatial Emotion

from Identity, Spatial Emotion

from Identity, Spatial Emotion

from Identity, Spatial Emotion

from Identity, Spatial Emotion

from Untitled #3 (degree show)

from Untitled #3 (degree show)

from Untitled #1 (degree show)

from Untitled #3 (degree show)

from Untitled #3 (degree show)

from Echoes of Memory

from Echoes of Memory

from Echoes of Memory

from Echoes of Memory

from Echoes of Memory

from Alternative Degree Show Ideas

from Natural, Manufactured, Imagined

from Alternative Degree Show Ideas

from Alternative Degree Show Ideas

from What I Saw

from Degree Show.

from Other Works

from Degree Show.

from Degree Show.

from Degree Show.

from Still, radiant

from Still, radiant

from Installation view: Water Reflection

from Installation view: weaving close-up

from Candle and Birthday Cake

from Candle and Birthday Cake

from Dinosaur

from Sculpture

from Sculpture

from Ephemeral Woodland

from Fig-Bowered

from Blue Veil

from Gloaming

from Flamingo

from After Image

from After Image

from After Image

from After Image

from After Image

from Forged Horn

6cm(diameter)x 30cm

from Forged Horn

from Trap

from Forged Horn

from Anxiety

from Geometric symphony

from From September to September

from From September to September

from From September to September

from JUMP!JUMP!JUMP!

from What the Hands Remember

from Husked by Words, Held by Land

from Walking Between Two Worlds

from Husked by Words, Held by Land

from Walking Between Two Worlds

from Maternal Cycle

from Maternal Cycle

from Maternal Cycle

from Maternal Cycle

from Maternal Cycle

from Afternoon Tea

from Afternoon Tea

from Afternoon Tea

from Afternoon Tea

from Take a Bite

from A glutton for punishment

from A glutton for punishment

from TWINS OF NATURE

from THE TRANQUILITY AFTER MUTATION

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

Acrylic and oil on canvas 200 x 200cm

from Renaissance au Clair de Lune

from The Blade of Redemption in Europa

from Renaissance au Clair de Lune

from The Blade of Redemption in Europa

from My Body | My Land Installation

from My Body | My Land Installation

from My Body | My Land Installation

from My Body | My Land Installation

from My Body | My Land Photographs

from Corndream

from Tear

from Liam

from Jungle

from Imprinting

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 Untitled 1, 2025

from Stoney, 2025

from Greenock, 2025

from Grass Series, Small Strings Cutting Like Whispers, 2025

from Grass Series 1, 2025

from Velvet Breath

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

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 Between Lotus and Breast

from Between Lotus and Breast

from Surveillance Shower

from Between Lotus and Breast

from Between Lotus and Breast

from Dark Bloom

from The Root of Fear

from Dark Bloom

from Cosmic Scar

from The Root of Fear

from Nature · Woman · Creature

from Nature · Woman · Creature

from Nature · Woman · Creature

from Nature · Woman · Creature

from Nature · Woman · Creature

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 Textile Work ( brutalism and texture)

from Embroidered canvas

from Textile Work ( brutalism and texture)

from Textile Work ( brutalism and texture)

from Grid Series

from Hands-On

from And Yet

from And Yet

from Traces of an Unseen Dialogue

from The Possibility of Papaver Rhoeas

from found

from ordinary touch

from the blinking at the start of the day

from water bugs

from water bugs

from Welcome to My Puppet Show

from Welcome to My Puppet Show

from Other Works

from Other Works

from Welcome to My Puppet Show

from Connect

from Connect

from Connect

from Connect

from Connect

from Miraculous Hours

from Miraculous Hours

from Miraculous Hours

from Miraculous Hours

from Miraculous Hours

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

from A Reflection of a Queer Life

Oil Painting by Alan Brash, 35 x 28 cm

from A Reflection of a Queer Life

Oil Painting by Alan Brash, Titled Defiance, 180x140cm

from A Reflection of a Queer Life

Oil Painting by Alan Brash, titled Disclosure, 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

from Topographies of Memory

from Resonance of Body and Soil

from Boundaries in Flux

from Resonance of Body and Soil

from Resonance of Body and Soil

from Gestures of Disruption

from Gestures of Disruption

from Gestures of Disruption

from Gestures of Disruption

from Gestures of Disruption

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 UNTITLED 02-04 & UPRIVER

from UNTITLED 02-04 & UPRIVER

from UNTITLED 02-04 & UPRIVER

from UNTITLED 02-04 & UPRIVER

from UNTITLED 02-04 & UPRIVER