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 Alternative Degree Show Ideas

from What I Saw

from Alternative Degree Show Ideas

from What I Saw

from What I Saw

from Childhood

from Childhood

from Teeth

from Sculpture

from Childhood

from Miraculous Hours

from Miraculous Hours

from Miraculous Hours

from Miraculous Hours

from Miraculous Hours

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 The Moon Eclipse is the Empty Full Moon

from Nature · Woman · Creature

from Nature · Woman · Creature

from Nature · Woman · Creature

from Nature · Woman · Creature

from Nature · Woman · Creature

from Afternoon Tea

from Afternoon Tea

from Afternoon Tea

from Sweet Trap

from Afternoon Tea

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 After Image

from After Image

from After Image

from After Image

from After Image

from Echoes of Memory

from Echoes of Memory

from Echoes of Memory

from Echoes of Memory

from Echoes of Memory

from Loophole

from Maes y crugiau

from Loophole

from Loophole

from Yearning For Something That Never Belonged To Me

from Topographies of Memory

from Resonance of Body and Soil

from Resonance of Body and Soil

from Boundaries in Flux

from Boundaries in Flux

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

from Flash Powder Burn Series

from Explosion Capture Series

from Explosion Capture Series

from Flash Powder Burn Series

from Cosmic Scar

from The Distant Abyss

from The Root of Fear

from Dark Bloom

from Dark Bloom

from Porcelain Flesh

from Between Lotus and Breast

from Between Lotus and Breast

from Between Lotus and Breast

from Milk

from Imprinting

from Jungle

from Corndream

from Liam

from Tear

from Walking Between Two Worlds

from The Weight Of Silk

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

from The Weight Of Silk

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

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 My Body | My Land Photographs

from My Body | My Land Installation

from My Body | My Land Installation

from Various Video Works

from Various Video Works

from TIRE!TIRE!TIRE!

from Geometric symphony

from JUMP!JUMP!JUMP!

from Pseudo-artistic series

from JUMP!JUMP!JUMP!

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 PROLIFERATION

from PROLIFERATION

from PROLIFERATION

from Maternal Cycle

from Maternal Cycle

from Maternal Cycle

from Maternal Cycle

from Maternal Cycle

from A glutton for punishment

from A glutton for punishment

from Welcome to My Puppet Show

from Welcome to My Puppet Show

from Welcome to My Puppet Show

from Other Works

from Welcome to My Puppet Show

Liminal Space

from What The Room Remembers – 1

from Liminal Space

from What The Room Remembers – 2

43 x 30 cm Watercolor on paper, 2025

from Where The Window Was – 1

from Liminal Space

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 Gestures of Disruption

from Gestures of Disruption

from Gestures of Disruption

from Gestures of Disruption

from Gestures of Disruption

from Kama Jing’s Degree Show

from Pretty Little Rushmore

from Starry Eye Glasses 1.0

from Kama Jing’s Degree Show

from Kama Jing’s Degree Show

from Textile Work ( brutalism and texture)

mosaic, abstract, eggs with soldiers, colorful

from Grid Series

from Textile Work ( brutalism and texture)

from Textile Work ( brutalism and texture)

Food, Acrylici Painting, fudge, abstract background

from Grid Series

from Where Will You Gaze, Where Will You Go?

from Rehearsal for a Daydream

from Where Will You Gaze, Where Will You Go?

from The Possibility of Papaver Rhoeas

from Rehearsal for a Daydream

from Fragments I

from Fragments II

from Fragments I

from St Vincent Lane

from Fragments II

from Identity, Spatial Emotion

from Identity, Spatial Emotion

from Identity, Spatial Emotion

from Identity, Spatial Emotion

from Identity, Spatial Emotion

from Greenock, 2025

from Stoney, 2025

from Grass Series 1, 2025

from Grass Series, Small Strings Cutting Like Whispers, 2025

from Untitled 1, 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 What Is My Destiny?

from Installation View

from Installation View

from My Options

from Summer Night Fireworks

from New Build, First Ride.

from What in the World?

from Cyborgs

from Blossom Bowl

from What in the World?

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 found

from come closer

from the blinking at the start of the day

from found

from ordinary touch

from The Tour Guide

from The Tour Guide

from I, the Voyage-Craft

from (23.8398900, 110.2622900)

from I, the Voyage-Craft

from TWINS OF NATURE

from THE TRANQUILITY AFTER MUTATION

from Blue Veil

from Gloaming

from Fig-Bowered

from Ephemeral Woodland

from Ephemeral Woodland

from Connect

from Connect

from Connect

from Connect

from Connect

Acrylic and oil on canvas 200 x 200cm

from Glasgow Dusk

from Renaissance au Clair de Lune

from The Blade of Redemption in Europa

from Renaissance au Clair de Lune

from Broken Wings: Soaring Through Imperfection

from Degree Show.

from Other Works

from Degree Show.

from Other Works

from Degree Show.

from Pulse

from Diamond

from A Step Away

from White Cliffs

from Red House

from Untitled #3 (degree show)

from Untitled #1 (degree show)

from Untitled #3 (degree show)

from Untitled #3 (degree show)

from Untitled #3 (degree show)

from ‘Parts of Mine’ (2025)

from ‘In No Particular Order’ (2025)

from ‘Parts of Mine’ (2025)

from ‘Surroundings’ (2025)

from ‘In No Particular Order’ (2025)

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 As It Was | كَما كانَ

from As It Was | كَما كانَ

from Silent anger

from Silent anger

from Trap

from Anxiety

from Forged Horn

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

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

from A Reflection of a Queer Life

Oil on Canvas by Alan Brash, titled Revelation. 180 x 140 cm

from A Reflection of a Queer Life

Untitled Study by Alan Brash, Oil on Canvas, 28 x 24 cm

from A Reflection of a Queer Life