Highlights

RE: Handle with Care, 2021 - 2022 by Thulani Rachia

Open letter, projected text, archival artefacts, moving image. Glasgow International Festival & House for an Art Lover, 2021-2022

This work began as a live intervention staged at the Heritage Museum in Bellahouston Park: an open letter, projected as text directly over a vitrine of artefacts from the 1938 Empire Exhibition. The piece questioned how Glasgow International Festival and House for an Art Lover display and steward colonial-era objects, addressing the institutions directly on their institutional racism and oppressive labour conditions, and calling for deeper accountability and engagement with the city's colonial legacies.

The night before deinstallation, a violent thunderstorm struck Glasgow. The museum flooded, and the archival artefacts inside the vitrine were destroyed.

Within Nguni cosmology, water and thunderstorms are understood as generative forces - capable of cleansing and transformation. Read through this lens, the storm becomes a collaborator: an agent of tranformation that sustained the work rather than ended it. We turned the projector back on over the now waterlogged vitrine and filmed the result. The resulting moving image work stands as both documentation of this rupture of time and space and an extension of the original open letter.

Porth i Annwn (Gate to Annwn), 2026 Oil, oil pastel and oil stick on slate, 2026 by Rhiannon Rebecca Salisbury

Porth i Annwn is painted on repurposed Welsh slate using oil, oil stick and oil pastel. The work approaches the stone as both image and object: a surface already marked by geological pressure, extraction, weather and use.

The title refers to Annwn, the Otherworld in Welsh mythology, and positions the painting as a threshold between visible landscape and an imagined space beyond it. Its shifting forms suggest a cave mouth, portal, altar or fragment of terrain, without resolving into a single image. Areas of colour appear to emerge from and recede into the dark slate, creating a sense of passage, concealment and transformation.

The work forms part of my ongoing exploration of material memory, Welsh extraction histories and painting as a threshold surface.

85 x 55cm 

Drag/ged Objects (Darkroom Edition), 2024 - 2026 by Elly Clarke

Towards the close of my PhD I was fortunate to be selected as an Artist in Residence at The Banff Centre in Canada. There I began a new series of work that involved creating contact sheets and 35mm negatives from digital phone & camera photos and printing them in the darkroom, sometimes taking the objects that are portrayed in the images into the darkroom with me. [Wig, Shoe, Necklace…]

A series of new work is still being created and relates to the general archiving I am doing of my multi bodied drag alter ego #Sergina, who pranced around on stages and screens for nearly 15 years. I am installing these prints alongside and entangled with the objects that inspired them.

Writing Anna Martin's Cyclamen, 2026 by Joanne Masding

A work taking Anna Martin's 1896 Art Nouveau design Cyclamen as its starting point.

Translated into print on ceramic slab, and presented on copper support with verdigris surface.