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"Muffin Man" by The Gorgeous Pouting Mr AR
No full textVideo for third single from the album "The Beyond and the Better Way."
Video concept by Ronan Breslin realised by Daniel Archibald and Beth Johnston who directed and edited the video
A Critically Reflective Practice
Full text linkFor over ten years, the Master of Design programmes in Illustration and Communication Design at The Glasgow School of Art have developed the use of Critical Reflective Methods as an integral component informing students’ studio practice. During this time, I have led my team in developing our approach.
The Critical Reflective Journal course provides opportunities for students to acquire practical skills in developing as reflective practitioners. In discussions with staff and peers, students critically reflect on their practice through presentations, workshops, and peer reviews. The Critical Reflective Journal informs the student’s practice-led research, requiring students to situate their practice within the ethical, social and political context of Communication Design. The course transforms students’ practice, producing graduates who are practitioners, academics, researchers, curators, and activists. This paper presents and evaluates the effectiveness of the approaches employed by the team over this period in developing students as critical reflective practitioners
Open Access FAQs
No full textThis document answers some frequently asked questions about open access. It also addresses common queries regarding REF 2021's Open Access Policy and explains what authors need to do to ensure their work is REF eligible.
For further assistance please contact: [email protected]
Exquisite, Imaginary Cure
Full text linkThis was an exhibition curated by Zoë Mendelson at The Glasgow School of Art, which included facsimiles of artefacts from GSA Archives & Collections, and works by:
H. Baldwin,
Diogo Gama,
Michelle Hannah,
Alek Mechlinski,
Catarina Moura,
Abi Palmer,
Alex Veness,
John Walter
The exhibition, which was hung along a single wall, engaged visually with a critique of medicine and the industrial complex of the wellbeing industry via artworks that (through fantasy, object-hood, narrative and realism) allowed multiple views of a complex subject. Artists were invited to exhibit specific works convening around il-being as a producer of valuable knowledges and possibilities. As a connecting device, a 28.5 metre-length printed curtain on NHS tracking (by Zoë Mendelson) held the works into ward-like bays, concealing and revealing them through the exhibition.
Margaret Salmon and Elizabeth Hodson contributed a screening and discussion event to the exhibition.
The exhibition text is below:
In Exquisite, Imaginary Cure a projected idea of a space beyond the current body is anticipated and articulated. This is an imaginary realm, a functional medical landscape, an invented suite of elixirs, a dressing, a prosthetic, Oz.
This exhibition engages the medical as a critical landscape (beyond assumption and the prejudicial) within which what is offered isn’t just swallowed but is questioned and fed back. It projects a space for ill-being as a form of deep knowledge and necessary fantasy. It refutes the industrial complex of wellbeing as a success narrative and asks whether there is space for critical advocacy from within the wild imaginings and hallucinatory experiences of chronic health.
Artefacts and artworks are drawn into a space occupied by a medicalised curtain - theatrical, clinical. Holding the exhibition together is an account of the time, in 1917, when the Glasgow School of Art gave up some of its spaces to the drying and preparation of sphagnum moss used in dressings for wounds.
This transformative use of the site is engaged here as a prompt for thinking - how can we engage the art space as an agitator to provoke a rethinking of fast and dismissive medicine, engaging drying time (a slow curing) and the imaginary.
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Exquisite, Imaginary Cure (curtain) is a curatorial conceit as well as an artwork of itself. It wraps and cares for the other works in the show, as well as veiling them from view. Using the procuring and drying of antiseptic moss (at the Art School in 1917) as a device through which to talk about the mopping, patting or painting of wounds, the curtain folds the other works into the possibility of a cure, when this may just be window dressing
Canine Oncology: Investigating Tri-dimensional (3D) Technology as a Visual Pre-operative and Clinical Aid for Veterinary Surgeons Treating Dogs with Hepatocellular Carcinoma
No full textHepatocellular Carcinoma (HCC) is an intrinsic primary liver tumour in dogs with a median age at presentation of nine years old with HCC estimated to be responsible for over 50% of all hepatic tumours in dogs.
A thorough appreciation of hepatic anatomy and its spatial complexity is a pre-requisite for veterinary surgical oncologists when assessing liver tumour respectability. It is achieved through multiple educational resource methods. Successful treatment of liver cancer, including surgical intervention, requires a precise topographic understanding of the liver's multi-lobular structure. This includes an appreciation of the spatial arrangement and complexity of the hepatic vessels along with the proximity of adjacent structures within the cranial abdomen. However, the anatomical branching of the hepatic artery, vein and portal vein can differ significantly between patients in terms of number, course, and liver regions they supply or drain. The veterinary surgeon must therefore determine where the hepatic blood supply feeds or drains before surgery, assess the tumour heterogeneity and local environment, to help guide surgical resection.
The nature of current Computed Tomography (CT) imaging technology limits what can be perceived anatomically and spatially, and so identifying the exact spatial position of the HCC in relation to normal anatomical structures can be challenging. This can restrict the surgeon's spatial ability and mental reconstruction in defining the best surgical approach to the liver tumour.
In human medicine, surgical techniques and pre-operative management using 3D technology prove effective in clinical practice; however, the potential of 3D technology in veterinary oncology is in its infancy. This research consists of a pilot study testing the feasibility of using historical canine CT scans to create interactive 3D models of the canine liver with and without HCC.
Segmentation using a 'slice addition' technique of normal and abnormal canine CT scans resulted in the volumetric generation of 3D hepatic and tumour models. One healthy canine liver and two abnormal canine livers of patients with HCC were further sculpted and textured using 3D sculpting and modelling software to create photorealistic hepatic and HCC models. The models were integrated into a game engine to create an interactive user interface.
The final application allows veterinary surgeons and students to visualise the features and spatial complexity of the liver in 3D, both normal and with HCC. Featured interactions allow the deployment of HCC tumours into the modelled liver, giving the veterinarian the chance to show the dog’s owner the location, size, and severity of the HCC affecting their dog.
Finally, an evaluation process was undertaken by twelve expert and trainee veterinary surgeons and oncologists, with highly favourable responses to both content and face validity of all 3D hepatic and HCC models. It emphasises the usefulness of and the ability to interact with 3D models to provide essential context, enhance visual accuracy and perceptual learning, support prognosis, and improve client-to-vet-communication
'A Social Process of Unknowing Yourself in Real Time': Work on Conversation
No full textCollecting responses, dialogue, exchange and new writing produced as part of writer and translator Dr Kate Briggs' residency in the School of Fine Art at The Glasgow School of Art, A Social Process of Unknowing Yourself in Real Time restates Gilles Deleuze and Claire Parnet's questions 'What is a conversation? What is it “for”? In a life? In a
practice? In a pedagogical setting—like an art school?'.
Kate Briggs was in practitioner-in-residence for one year, hosted by the MLitt Art Writing, 2022-2023, and worked with staff and students to consider the site of 'conversation' and practices of conversing, an artfulness requisite to both life and teaching.
'A Social Process of Unknowing Yourself in Real Time': Work on Conversation is edited by Dr Kate Briggs and Dr Laura Haynes, Programme Leader MLitt Art Writing
This is Not What I Think
No full textThis is Not What I Think claims that the role of conversation with learning and teaching practice in art school is both to distill what happened when an artwork is made, and to witness the unpredictability of the making process. Conversation about art making in the fine art studio is presented as a listening technique, a method of observation and a means of provocation. This essay is also a defence of the freedom given to us when speaking without thinking too deeply before our utterance.
The essay reflects the polyvocal experience of learning within cohorts, where multiple perspectives and positions are equally disruptive and productive. The natural shattering of entrenched approached to making and presenting artworks come about through practicing in communal studios. This essays captures the momentum created by shifting the foundations of practice through confrontational dialogue.
This essay was written in response to an invitation to participate in the project 'A Social Process of Unknowing Yourself in Real Time': Work on Conversation is a collecting responses, dialogue, exchange and new writing produced as part of writer and translator Dr Kate Briggs' residency in the School of Fine Art at The Glasgow School of Art, A Social Process of Unknowing Yourself in Real Time restates Gilles Deleuze and Claire Parnet's questions 'What is a conversation? What is it “for”? In a life? In a
practice? In a pedagogical setting—like an art school?'.
Kate Briggs was in practitioner-in-residence for one year, hosted by the MLitt Art Writing, 2022-2023, and worked with staff and students to consider the site of 'conversation' and practices of conversing, an artfulness requisite to both life and teaching.
'A Social Process of Unknowing Yourself in Real Time': Work on Conversation is edited by Dr Kate Briggs and Dr Laura Haynes, Programme Leader MLitt Art Writing
Olive Tree
No full texta response to the relocation of olive trees from Gaza
considering a re-thinking of the bibliographical approach 'ad fontes' (a Latin expression which means "[back] to the sources"), the publication traces all references of the olive tree and it’s cultural and socio-economic and symbolic significance from Linear B to the Quran with a particular focus on the bibliographical sources in the classical world. The book mirrors the migration of a particular splice of olive tree, of the Koroneikos variety to Palestine through an elliptical reference to sources and traces a history of conflict that exceeds the symbolic in language and history, examining the idea that sound knowledge depends on the earliest and most fundamental of sources.
The systematic uprooting of Palestinian olive trees by Israeli forces and settlers is more than an act of environmental destruction—it is a calculated strategy of oppression that exemplifies the broader framework of Israel’s green colonialism. This phenomenon, which integrates ecological policies with settler-colonial objectives, serves as a mechanism of dispossession and control. The regulation and destruction of Palestinian olive groves highlight how environmental narratives are manipulated to justify land appropriation, surveillance, and the erasure of Palestinian identity. This essay explores how green colonialism operates by targeting olive trees, illustrating the intersection of ecological rhetoric and settler-colonial ambitions. The olive tree is deeply rooted in Palestinian history, culture, and economy. These trees, some of which have stood for centuries, symbolize resilience and an enduring connection to the land. Beyond their cultural and symbolic value, olives provide a major source of income for Palestinian farmers, with olive oil production accounting for a significant share of agricultural livelihoods. As such, the destruction of olive trees is not just an environmental or economic issue—it is an attack on Palestinian identity and self-sufficiency.
The publication was made as part of the Reading Landscape Exhibition held in the Annex Gallery of The Glasgow School of Art between 22 April – 16 May 2025.
All proceeds from the sale of this work will be donated for humanitarian relief in Palestine, a place where olive trees grow despite all adverse conditions and continue to thrive against all odds
Works on Paper made in response to Carl Lavery's 'Letters to Ana Mendieta' as part of an ongoing collaborative project.
No full textI made 19 mixed media works as part of an ongoing collaborative project: Letters to Ana Mendieta with Professor of Theatre Studies and Performance at University of Glasgow, Carl Lavery. The work was shown at 'Rejouer autrement, Films, performances, installations', Théâtre Koltès et Espace Reverdy, Université Paris Nanterre 8 and 9 October 2025
Shuggie Bain: enfant singulier de Glasgow
Full text linkA short documentary film made by director Alexandra Willot- Beaufils for the Franco-German TV channel Arte. It is about the author Douglas Stuart and his semi-autobiographical novel Shuggie Bain. The film largely consists of descriptions of Glasgow and the village of Cardowan and life there (plus a history of mining there) by myself and Chris Leslie and excerpts from the book