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Blue Spell
No full textA print work combining C-type photomontage with sculptural assemblage. Exhibited in Exquisite, Imaginary Cure, curated by Dr Zoë Mendelson at Annex Gallery, The Glasgow School of Art (14 November – 18 December 2025), the work brings together a digital image derived from a screenshot of the queer film Flaming Ears with layered 3D-modelled elements. The print is mounted on black-dyed MDF and extended materially through the placement of a small blue glass bottle containing cedarwood and lion’s mane, alongside onyx, selenite and a fragment of marble removed from the floor of Kelvingrove Museum.
Blue Spell forms part of the ongoing PARA project, which investigates attachment, mediation and institutional inhabitation through image and material. The work examines how queer memory and institutional matter adhere to one another, producing a layered object in which citation, labour and speculative healing remain unresolved yet materially present as adornment
British Interior Design since 1925: A Critical History
No full textThis book shows how interior design and decoration emerged in twentieth century Britain, responding to changes in popular taste, music and fashion. It focuses on the autonomous interior, conceived independently of the shell that contains it. It argues for the importance of intimate scale and curious detail rather than grand gesture in making interiors and the impossibility of one style fulfilling the needs of diverse functions and users. It emphasizes the importance of decoration and speculates about the appropriate nature of ornament in poly-stylistic interiors. It contextualises interiors in relation to the fashions and music that have exercised and shaped British creative imaginations
Light on Things / Ghosts Sheltering Beneath a Cloud of Entropy
Get PDFAn encounter between the paintings of Evi Vingerling (Gouda, 1979) and the photographic crossovers of Katja Mater (Hoorn, 1979). The artworks by Vingerling and Mater are ‘punctuated’ with poems by the author, artist and cultural historian Professor Omar Kholeif. They are included in a small publication, together with an accompanying essay, also by Kholeif. In this penetrating piece, he describes how the two artists’ works, ostensibly so different, resonate in his body, his knowledge and memories and concludes as follows:
‘But this house, which has served many, is not only a museum or tourist attraction; it has become a home for the people of Utrecht, the Netherlands and the world. A house as a biography; not an annex but a base, the embodiment of countless souls. To this lingering body – which longs to form part of it – it offers many moments of respite, a sense that this is a place for the collective bonding ritual; I breathe a sigh of relief
Flea Market Painting
No full textIn criminology, the ‘Broken Windows Theory’, introduced in 1982 by social scientists Wilson and Kelling, proposes that visible signs of disorder create an urban environment that encourages further disorder. There is an implication that the urban landscape allows a communication of lack of authority and this, in turn, proliferates a disregard for social norms and law. A new social geography emerges leading to a continuous deterioration of culture and community, as disorder becomes more common. The works scrutinize the nuanced relationship between causality and correlation and advocate a complex response to how the urban landscape ultimately can become a site of resistance of marginalised communities and how disorder reflects the complexities of class dynamics. Disorder is reframed as a complex phenomenon, imbued with transformative potential and latent opportunities for societal renewal and magical opportunities.
The work submitted to the 'Le Salon D’Echangiste' show aims to not only support STudnet endeavours, and curatorial practices that are interesting, but to also allow itself (as a photograph) to move away from simple representation and to instead consider itself as exchange currenc
Reassembling the social interior: historical spaces from contemporary viewpoints
No full textReassembling the social interior: historical spaces from contemporary viewpoints, reveals the richly layered works of artists, designers, craftspeople, landscape gardeners and architects, and their contributions to the construction of interiors, and interrelated exteriors, of the past. Surveying a range of historical periods, the book explores collective meanings embedded within the furnishings and fittings of houses and homes, public and private buildings. The book considers how these spaces have powerful significance for contemporary audiences, particularly in ways that are relatable to shared experiences of work, leisure, family, community, power and politics. In Reassembling the social interior, the authors describe the communicative and interpretative qualities of works that connect with the present-day, by reflecting on, remaking and re-imagining, places, spaces and objects that once populated people’s lives. Palatial to austere, Reassembling the social interior foregrounds human relationships in the plan, design and creation of homes, interiors and sites of the past. The book is concerned with recent research on the history of the domestic interior that has highlighted the significance of meanings embedded in the landscape, architecture, decoration and objects that comprise the furnishings and fittings of houses and homes. Despite the expansive reach of this field of research, encompassing grand, architectural schemes and minute inventoried, personal, belongings, the book argues that often the interpretative and communicative aspects of art and design that make up the social meanings of these spaces is misrepresented or can be overly speculative. Therefore, in Reassembling the social interior: historical spaces from contemporary viewpoints, the contributions of artists, designers and craftspeople might best be foregrounded in constructing ideas of authenticity, transparency, and materiality in the making process, alongside scholarly study
Man (on phone)
No full textPhotograph 21 x 17 inches
In criminology, the ‘Broken Windows Theory’, introduced in 1982 by social scientists Wilson and Kelling, proposes that visible signs of disorder create an urban environment that encourages further disorder. There is an implication that the urban landscape allows a communication of lack of authority and this, in turn, proliferates a disregard for social norms and law. A new social geography emerges leading to a continuous deterioration of culture and community, as disorder becomes more common. The works scrutinize the nuanced relationship between causality and correlation and advocate a complex response to how the urban landscape ultimately can become a site of resistance of marginalised communities and how disorder reflects the complexities of class dynamics. Disorder is reframed as a complex phenomenon, imbued with transformative potential and latent opportunities for societal renewal and magical opportunities.
Work was shown in Brussels Street Photography Festival.
BSPF presents a diverse range of activities, including exhibitions, photography contests, workshops, guided photo walks, panel discussions, film screenings and portfolio reviews. The festival highlights street photography not only as a way to capture spontaneous urban moments but also as a powerful tool for cultural and social documentation. Through these activities, BSPF fosters engagement between photographers, artists and the public, creating a vibrant space for creative expression.
A key highlight of the festival is its international photography contest, where participants can submit their best work in two main categories: ‘Singles’ and ‘Series’. The finalists’ images are displayed in curated exhibitions across Brussels, offering valuable exposure to a wide audience. In addition to the prestige of being showcased, winners also receive cash prizes, further recognising their talent and dedication to street photography. The competition draws thousands of submissions annually, showcasing the creativity and skill of the global street photography community.
BSPF collaborates with Leica Camera France and Magnum photographers, who serve as jury members, guest speakers, and workshop mentors. Their involvement brings invaluable expertise and inspiration, allowing participants to learn from some of the most influential voices in contemporary street and documentary photography
Designing and Evaluating XR Cultural Heritage Applications Through Human–Computer Interaction Methods: Insights from Ten International Case Studies
Get PDFAdvanced three-dimensional extended reality (XR) technologies are highly suitable for cultural heritage research and education. XR tools enable the creation of realistic virtual or augmented reality applications for curating and disseminating information about cultural artifacts and sites. Developing XR applications for cultural heritage requires interdisci-plinary collaboration involving strong teamwork and soft skills to manage user require-ments, system specifications, and design cycles. Given the diverse end-users, achieving high precision, accuracy, and efficiency in information management and user experience is crucial. Human–computer interaction (HCI) design and evaluation methods are essen-tial for ensuring usability and return on investment. This article presents ten case studies of cultural heritage software projects, illustrating the interdisciplinary work between computer science and HCI design. Students from institutions such as the State University of New York (USA), Glasgow School of Art (UK), University of Granada (Spain), University of Málaga (Spain), Duy Tan University (Vietnam), Imperial College London (UK), Re-search University Institute of Communication & Computer Systems (Greece), Technical University of Košice (Slovakia), and Indiana University (USA) contributed to creating, assessing, and improving the usability of these diverse cultural heritage applications. The results include a structured typology of CH XR application scenarios, detailed insights into design and evaluation practices across ten international use cases, and a development framework that supports interdisciplinary collaboration and stakeholder integration in phygital cultural heritage projects
The Analogues of McEwan
Get PDFA critique of Cameron McEwan's volume - 'Analogical City' - on the urban and architectural theories of Itailian architect Aldo Rossi (1931-97) - The recent opening of the exhibition of drawings 'Tracing Rossi' at the Stallan Brand studio gallery in Glasgow offered an opportunity to examine author McEwan's in-depth published study of the influential architect Rossi. Via discussion of a relatively obscure and neglected project by Rossi, the book 'Analogical City' makes weighty claims for architecture as a poetic, political and above all, critical practice
Crossover - Bringing Science and Society Together
No full textA website documenting the Crossover project, funded by the Biochemical Society and the RSE Young Academy of Scotland. The project builds a network for interdisciplinary exchange between science, society, and design, fostering creative approaches to the complex challenges and opportunities that emerge from advances in scientific knowledge and technology
James Watt’s 1779 Instruction Book: a manual for enterprise
No full textThe Soho Manufactory in Birmingham is renowned for its output of material objects and machines, heralding the nineteenth century industrial era. But it should also be recognised for its parallel ‘paper manufactory’. Boulton and Watt (B&W) established one of the first engineering Drawing Offices in Britain and an archive of Pattern Books and printed items.
James Watt’s 1779 Instruction Book is a modest production of letterpress text and engraved images taken from Watt’s design drawings but with few of the alluring visual qualities we associate with B&W presentation drawings, and was an internal user manual for distant workmen assembling condensing steam engines. Nonetheless, this booklet gained enormous public significance, both then, during the ‘patent trials’ of the 1790s, when B&W successfully defended their commercial hold on the condensing engine through an extended patent, also recently, as an element in economic history and technology studies in relation to hierarchies of knowledge and intellectual property during the ‘industrial enlightenment’.
As a ‘manual’ the Instruction Book also gives insight into new areas of book and publication history in Britain at this time, and sheds useful light on the workings of B&W as an emerging enterprise between 1780-1800 and the role of the ‘paper manufactory’ in its consolidation