Painting & Printmaking School of Fine Art

Natasha Thomas (she/her)

I believe, through working creatively we can hope to communicate better and realise new ways of living that are beneficial to the world. Through my practice, I aim to explore the existing and possible future relationships between people and places. Via practising with wood & metal, paper & print my focus remains on skilled craft. I intend to retain traditional practices and always hope for final outcomes to be reminiscent of hands-on processes, as it is the joy & relief of making that motivates me. I use colour and elaborate forms to reinvigorate histories & memories to be seen afresh in the present, creating work that reflects curiosity and an excitement for life.

Interrogating the act of restoration, I explore how works of antiquity are as malleable as paint itself. It is our choice what we choose to keep and what we choose to forget. A respect for the “off-cut” juxtaposes references belonging to the long entrenched western art canon which is, in part, responsible for the way we see. Drawing remains a constant love and is a prerequisite to everything. Like a time traveller, I collect and collage information from different epochs, finding new ways of making by embracing multiple perspectives.

Waterworks, 2023
Folds, 2023
A Collab Space

Collaborative Work
Ballads, Limericks and Interstellar Doggerel for Voyages Undertaken in the Pretense of Space Colonization
Wood, Ceramic, Steel, Plaster, Wax, Gravel, Found Fragments.

Waterworks, 2023

The theme of water has driven my work for the last three years, before via prints & drawings & now through building vessels that hold and play with water. Waterworks, uses Glasgow’s abandoned fountain network as a starting point. Reimagining these structures, the sculpture exists as an anti-monument. As I attempted to keep the form a question and an experiment for as long as possible, the resulting piece feels temporal and model-like.

This method is deliberately counter to historic practices in the West that elevate the idea of genius and control. Making Waterworks centred around practically learning from and with technicians, I feel so grateful for the expertise provided by them and would like to thank everyone in the technical departments who were so integral to the success of this project.

Waterworks, Video Documentation, 2023

Wood, Ceramic, Steel, Plaster, Wax, Gravel, Found Fragments.

Folds, 2023

In Folds, 2023, I use the aspect ratio of The Annunciation, Fra Angelico, Ca. 1426. The work interrogates the act of restoration. Having completed the Richard Ford Award in 2022, the work stems from drawings of the painting’s conservationist inside the restoration room at the Prado Museum, Madrid. She wants to remind us that the works of antiquity are as malleable as paint itself. In the present day, it is our choice what we chose to keep & what we choose to forget.

Folds, 2023

A Collab Space

Amielle Bogarve, Maria Christina-Onea, Ewelinka Dochan, Aura East, Liv Fox, Jack Iredale, Max Longhurst, Rachel Marston, Lizzie Monroe, Natasha Thomas, Martha Williams.

A Collab Space, stemmed from a proposal by this group of twelve graduates. They aimed to experiment with archival curation and celebrate the integral role collaboration has played in forming their artistic community. Believing that the individual and segmented layout of the degree show falls short in demonstrating the experience of being a student at Glasgow School of Art, they exhibited together the milestone projects they had built as team over their undergraduate years.

The ethos of these projects lives on, as the group who produced this show went on to form a new CIC. They are currently refurbishing a gallery and workshop space in Napiershall Street. (See the link below for updates).

(Installation View)

The House, Fire Ephemera

The House, Ephemera

The House, Story.

Martha Williams, Chairs, Pine, Vinegar, Steel Wool Finish.

Nadia Zhaya, Axis Mundi, 2020, Kinetic Sculpture

Max Longhurst, Lines of Desire, Metal Wheels, 2020

Rachel Marston, Rhian Lloyd, Routings Brochure, 2020

Theo Stevenson, Stone Crows, Bird Bath, 2021

Max Longhurst, Lines of Desire, Bronze, 2021

Liv Fox, Stool, 2023. Amielle Bogarve, Shelves, 2023.

Aura East and Maria Christina Onea, Photograph, Metal, 2023

Rachel Marston, Natasha Thomas, Flo Bracey, Chair, Ceramic and Projection, 2023

Amielle Bogarve, Kinetic Sculpture, 2023

Daisy Lewison, Ewelinka Dochan and Collaborators, The Wall Publication, 2021. Rachel Marston, The Stage, 2023

Max Longhurst, Beacons, Video, 2022. Natasha Thomas and Max Longhurst, Monoprint, 2023.

Rachel Marston, Lamp, 2023.

Ballads, Limericks and Interstellar Doggerel for Voyages Undertaken in the Pretense of Space Colonization

There will be a point when people gain the courage and technology to make long distance space travel, in search of another habitable planet, possible. When this happens, it will no doubt be a select few who are taken along- a group who will repopulate somewhere unimaginable, light years away. The journey will surely take a long time, the bonds formed in this journey as well as the experiences along the way won’t be dissimilar to former explorers aboard ships, travelling the seas in search of lands new to them, with their own experience taking president over all else. What will the stories made and told be from their voyage? When considering previous explorative and colonizing missions, how will humanities future missions be different?




Writings by:

Will Aghoghogbe

Rebecca Ashton

Leo Bussi

Jack Iredale

Rhian Lloyd

Rachel Marston

Jamie Prescott

Natasha Thomas

Onosiokhue Yakuba