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 Blue Veil

from Fig-Bowered

from Gloaming

from Ephemeral Woodland

from Flamingo

Acrylic and oil on canvas 200 x 200cm

from Broken Wings: Soaring Through Imperfection

from Renaissance au Clair de Lune

from Rescuing Pony: Anatomy of Survival

from Glasgow Dusk

from The Blade of Redemption in Europa

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 Stoney, 2025

from Untitled 1, 2025

from Grass Series 1, 2025

from Greenock, 2025

from Grass Series, Small Strings Cutting Like Whispers, 2025

from Still, radiant

from Installation view: Water Reflection

from Installation view: weaving close-up

from Still, radiant

from Miraculous Hours

from Miraculous Hours

from Miraculous Hours

from Miraculous Hours

from Miraculous Hours

from Maternal Cycle

from Maternal Cycle

from Maternal Cycle

from Maternal Cycle

from Maternal Cycle

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 ordinary touch

from water bugs

from found

from the blinking at the start of the day

from water bugs

from Childhood

from Childhood

from Candle and Birthday Cake

from Sculpture

from Candle and Birthday Cake

from Corndream

from Imprinting

from Liam

from Jungle

from Tear

from Silent anger

from Forged Horn

from Silent anger II

from Silent anger

from Trap

from As It Was | كَما كانَ

from As It Was | كَما كانَ

from THE TRANQUILITY AFTER MUTATION

from TWINS OF NATURE

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

from Explosion Capture Series

from Explosion Capture Series

from Explosion Capture Series

from Flash Powder Burn Series

from Kama Jing’s Degree Show

from Pretty Little Rushmore

from Kama Jing’s Degree Show

from New Eyes

from Kama Jing’s Degree Show

from What in the World?

from What in the World?

from Concrete Island

from What in the World?

from Cyborgs

from untitled

from Untitled #2 (degree show)

from Untitled #3 (degree show)

from Untitled #1 (degree show)

from Untitled #3 (degree show)

from PROLIFERATION

from PROLIFERATION

from PROLIFERATION

from Identity, Spatial Emotion

from Identity, Spatial Emotion

from Identity, Spatial Emotion

from Identity, Spatial Emotion

from Identity, Spatial Emotion

from What I Saw

from What I Saw

from Alternative Degree Show Ideas

from Alternative Degree Show Ideas

from Alternative Degree Show Ideas

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 Boundaries in Flux

from Topographies of Memory

from Resonance of Body and Soil

from Resonance of Body and Soil

from Boundaries in Flux

from I, the Voyage-Craft

from The Tour Guide

from (23.8398900, 110.2622900)

from I, the Voyage-Craft

from I, the Voyage-Craft

from St Vincent Lane

from Fragments I

from Fragments I

from Paintings

from Fragments I

from A glutton for punishment

from A glutton for punishment

from Sweet Trap

from Sweet Trap

from Afternoon Tea

from Afternoon Tea

from Take a Bite

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

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

from A Reflection of a Queer Life

Painting by Alan Brash, Oil on Canvas, Titled Blues, 28 x 24 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

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

Liminal Space
45 x 30 cm Watercolor on paper, 2025

from What The Room Remembers – 1

from Where The Window Was – 1

18 x 26 cm Watercolor on paper, 2025

from Where The Window Was – 2

from Liminal Space

from Liminal Space

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 Gestures of Disruption

from Gestures of Disruption

from Gestures of Disruption

from Gestures of Disruption

from Gestures of Disruption

from Surveillance Shower

from Porcelain Flesh

2025 Comprehensive materials (such as metal, plaster, latex, pewter etc. )

from Between Lotus and Breast

from Between Lotus and Breast

from Milk

from Echoes of Memory

from Echoes of Memory

from Echoes of Memory

from Echoes of Memory

from Echoes of Memory

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 What the Hands Remember

from Walking Between Two Worlds

from Walking Between Two Worlds

from What the Hands Remember

from Husked by Words, Held by Land

from After Image

from After Image

from After Image

from After Image

from After Image

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 What Is My Destiny?

from Installation View

from My Options

from Barefoot in Scotland

from What Is My Destiny?

from ‘In No Particular Order’ (2025)

from ‘Parts of Mine’ (2025)

from ‘Parts of Mine’ (2025)

from ‘Parts of Mine’ (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

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

from Degree Show.

from Degree Show.

from Degree Show.

from Other Works

from Other Works

from Pseudo-artistic series

from TIRE!TIRE!TIRE!

from From September to September

from JUMP!JUMP!JUMP!

from From September to September

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 Where Will You Gaze, Where Will You Go?

from The Possibility of Papaver Rhoeas

from The Possibility of Papaver Rhoeas

from Blue Reverie

from Blue Reverie

from Connect

from Connect

from Connect

from Connect

from Connect

from Grid Series

from Textile Work ( brutalism and texture)

from Textile Work ( brutalism and texture)

from Grid Series

from Textile Work ( brutalism and texture)

from The Root of Fear

from Cosmic Scar

from Dark Bloom

from The Distant Abyss

from Dark Bloom

from Nature · Woman · Creature

from Nature · Woman · Creature

from Nature · Woman · Creature

from Nature · Woman · Creature

from Nature · Woman · Creature

from Red House

from Pulse

from White Cliffs

from A Step Away

from Diamond

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 My Body | My Land Installation