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 Resonance of Body and Soil

Textiles, wood, thread,30*50

from Topographies of Memory

from Resonance of Body and Soil

from Topographies of Memory

from Boundaries in Flux

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 Sweet Trap

from Sweet Trap

from Afternoon Tea

from Afternoon Tea

from Afternoon Tea

from Tear

from Corndream

from Liam

from Imprinting

from Jungle

from Red House

from Diamond

from Pulse

from White Cliffs

from A Step Away

from Pretty Little Rushmore

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 Textile Work ( brutalism and texture)

from Textile Work ( brutalism and texture)

from Grid Series

from Grid Series

mosaic, abstract, eggs with soldiers, colorful

from Grid Series

from Maternal Cycle

from Maternal Cycle

from Maternal Cycle

from Maternal Cycle

from Maternal Cycle

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

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

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 Liminal Comfort, 180 x 140 cm

from A Reflection of a Queer Life

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 The Weight Of Silk

from Walking Between Two Worlds

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 Under a Veiled Sky

from Under a Veiled Sky

from Under a Veiled Sky

from Under a Veiled Sky

from Under a Veiled Sky

Liminal Space

from Liminal Space

from What The Room Remembers – 1

from Liminal Space

from Liminal Space

from Liminal Space

from Other Works

from Other Works

from Other Works

from Degree Show.

from Degree Show.

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 02-04 & UPRIVER

from UNTITLED 02-04 & UPRIVER

from UNTITLED 02-04 & UPRIVER

from UNTITLED 02-04 & UPRIVER

from UNTITLED 02-04 & UPRIVER

from Sculpture

from Sculpture

from Sculpture

from Childhood

from Childhood

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 My Body | My Land Installation

from Grass Series 1, 2025

from Grass Series, Small Strings Cutting Like Whispers, 2025

from Stoney, 2025

from Untitled 1, 2025

from Greenock, 2025

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 Velvet Breath

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 Welcome to My Puppet Show

from Welcome to My Puppet Show

from Welcome to My Puppet Show

from Welcome to My Puppet Show

from Welcome to My Puppet Show

from What I Saw

from Alternative Degree Show Ideas

from Alternative Degree Show Ideas

from What I Saw

from Alternative Degree Show Ideas

from TWINS OF NATURE

from THE TRANQUILITY AFTER MUTATION

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

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 found

from water bugs

from the blinking at the start of the day

from found

from found

from Milk

from Between Lotus and Breast

from Between Lotus and Breast

from Milk

from Between Lotus and Breast

from Dark Bloom

from The Distant Abyss

from The Root of Fear

from The Root of Fear

from Cosmic Scar

from Miraculous Hours

from Miraculous Hours

from Miraculous Hours

from Miraculous Hours

from Miraculous Hours

from Fragments II

from Fragments II

from Fragments I

from Fragments I

from Fragments II

from Connect

from Connect

from Connect

from Connect

from Connect

from Anxiety

from Silent anger

from Silent anger

from Silent anger

from Silent anger

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 #3 (degree show)

from Untitled #3 (degree show)

from un-earth

from Installation View

from Summer Night Fireworks

from Installation View

from What Is My Destiny?

from Barefoot in Scotland

from Explosion Capture Series

from Explosion Capture Series

from Explosion Capture Series

from Flash Powder Burn Series

from Flash Powder Burn Series

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 Hands-On

from The Possibility of Papaver Rhoeas

from Blue Reverie

from And Yet

from Blue Reverie

from After Image

from After Image

from After Image

from After Image

from After Image

Acrylic and oil on canvas 200 x 200cm

from Glasgow Dusk

from Rescuing Pony: Anatomy of Survival

from Renaissance au Clair de Lune

from The Blade of Redemption in Europa

from Renaissance au Clair de Lune

from Yearning For Something That Never Belonged To Me

from Yearning For Something That Never Belonged To Me

from Yearning For Something That Never Belonged To Me

from Blue Veil

from Ephemeral Woodland

from Gloaming

from Flamingo

from Ephemeral Woodland

from A glutton for punishment

from A glutton for punishment

from Echoes of Memory

from Echoes of Memory

from Echoes of Memory

from Echoes of Memory

from Echoes of Memory

from Blossom Bowl

from What in the World?

from What in the World?

from What in the World?

from New Build, First Ride.

from From September to September

from From September to September

from From September to September

from JUMP!JUMP!JUMP!

from JUMP!JUMP!JUMP!

from The Tour Guide

from (23.8398900, 110.2622900)

from The Tour Guide

from I, the Voyage-Craft

from The Tour Guide

from Gestures of Disruption

from Gestures of Disruption

from Gestures of Disruption

from Gestures of Disruption

from Gestures of Disruption

from ‘Surroundings’ (2025)

from ‘In No Particular Order’ (2025)

from ‘Parts of Mine’ (2025)

from ‘Surroundings’ (2025)

from ‘Parts of Mine’ (2025)