Painting & Printmaking
Stow Building, 58 students
Painting and Printmaking is the largest specialist programme within the School of Fine Art. The programme of study is practical and theoretical, focusing on enquiry and production in a lively studio environment.
Painting and Printmaking at the GSA reflects the complex and changing conditions, ethics and currencies of art-making, responding to new ideas. An awareness of histories and applications of painting alongside contemporary debate are all fundamental to our programme of study, which acknowledges and critiques painting’s legacies, and prioritises experiment and innovation. Painting is understood as a vehicle of thought and expression, a capture technology and an intellectual discipline. Printmaking is rooted in an exploration of visual representation and dissemination aligned to the materials, processes and formats of established and developing technologies.
The programme encompasses a range of approaches to our disciplines and suggests an expanded field – between what is hand-driven and machinic – from their interactions.
from Sauchiehall street
from Eggs and onions
from Voodoo bird
from Empire builder
from Junction US2
from Room to Swing a Cat, April 2025. Oil on canvas, 150 x 200cm.
from Room to Swing a Cat, April 2025. Oil on canvas, 150 x 200cm.
from Twelve Unlucky Feet, March, 2025. Oil on canvas, 100 x 180cm.
from Bring me an Avocet, April 2025. Oil on canvas, 150 x 200cm.
from Twelve Unlucky Feet, March, 2025. Oil on canvas, 100 x 180cm.
from ‘Hidden in plain sight’
from ‘A cross without nails (I), (II), (III)’
from ‘Before and after (2025)’
from ‘A cross without nails (I), (II), (III)’
from ‘A cross without nails (I), (II), (III)’
from “Common People”
from Installation
from “Common People”
from “Common People”
from “Common People”
from >user#14051974; give me space and money >user#10082003; no
from >user#14051974; give me space and money >user#10082003; no
from >user#14051974; give me space and money >user#10082003; no
from >user#14051974; give me space and money >user#10082003; no
from >user#14051974; give me space and money >user#10082003; no
from Whose reaching limbs recall my own?
from Work done on site
from Whose reaching limbs recall my own?
from Work done on site
from Work done on site
from Stagger Hame
from Stagger Hame
from Stagger Hame
from Stagger Hame
from Stagger Hame
from Orla Bradie
from Orla Bradie
from Orla Bradie
from Orla Bradie
from Orla Bradie
from 2 Visits
from 2 Visits
from Spokes I-IV
from Spokes I-IV
from Untitled
from Table Manners
from Table Manners
from Other Works
from Table Manners
from Table Manners
from Campbeltown-Performance
from Greenlaw-Performance
from Campbeltown-Performance
from Degree Show
from Degree Show
from Degree show: Untitled 202505
from Shanshui System 01
from Shanshui System 202412
from Shanshui System 01
from Shanshui System 202412
from What We Leave Behind
from What We Leave Behind
from What We Leave Behind
from What We Leave Behind
from What We Leave Behind
from 2022-25
from Selected Paintings
from 2022-25
from Possible Body 1
from Possible Body 1
from Degree Show
from Degree Show
from Degree Show
from Shadows
from Degree Show
from Degree Show Works
from Individual works
from Degree Show Works
from Degree Show Works
from Degree Show Works
from Paintings
from Into The Lighthouse
from Paintings
from Paintings
from Paintings
from SCULPTURE
from ABSTRACT
from PORTRAITS
from COLLAGE
from ABSTRACT
from Overview
from Overview
from Overview
from Overview
from The Return of The Background
from Subsymbolic
from Subsymbolic
from Subsymbolic
from Subsymbolic
from Subsymbolic
from Tank Details
from The Snails
from Tank Details
from Tank Details
from Work
from Work
from Work
from Work
from Work
from Soul of the Flower روح الزهرة
from Soul of the Flower روح الزهرة
from Soul of the Flower روح الزهرة
from Soul of the Flower روح الزهرة
from Soul of the Flower روح الزهرة
from AUGURIES OF EXIT
from AUGURIES OF EXIT
from AUGURIES OF EXIT
from AUGURIES OF EXIT
from Other Work
from Degree Show
from Cut Outs
from Cut Outs
from Drawings
from Matters of Consequence
from Matters of Consequence
from Matters of Consequence
from Matters of Consequence
from Matters of Consequence
from Collagraphs
from Degree Show
from Collagraphs
from Degree Show
from Degree Show
from Printmaking Works
from Degree Show Work
from Printmaking Works
from Degree Show Work
from Gestus
from Theatre in the Round
from What Lurks (After Lockheed Martin)
from Gestus
from Gestus
from I Intend to Count Lambs
from I Intend to Count Lambs
from I Intend to Count Lambs
from Powódź/Flood
from Powódź/Flood
from Powódź/Flood
from Powódź/Flood
from Powódź/Flood
from Disembark in Stromboli II
from The Frame Within
from Ferry Ride
from Ferry Ride II
from Disembark in Stromboli
from Rhapsody
from Remix
from Remix
from Like Stranger, Like Friend
from Starburst
from Letters from Glasgow
from Letters from Glasgow
from Degree Show Install Shots
from Look Again
from Have I Told You Lately
from On Days Like These
from My God, Are We Gonna Be Like Our Parents?
from My God, Are We Gonna Be Like Our Parents?
from March of The Swivel Heads
from ‘Specimens’
from Supporting works
from ‘Specimens’
from ‘Specimens’
from ‘Specimens’
from Sarah White : Vibrant Art and Textile Design from the Microscopic to the Botanical
from Sarah White : Vibrant Art and Textile Design from the Microscopic to the Botanical
from Sarah White : Vibrant Art and Textile Design from the Microscopic to the Botanical
from Sarah White : Vibrant Art and Textile Design from the Microscopic to the Botanical
from Sarah White : Vibrant Art and Textile Design from the Microscopic to the Botanical
from Degree Show 2025
from Degree Show 2025
from Glasgow Held and Heard
from Glasgow Held and Heard
from Degree Show 2025
from Weather Forecast
from Televised Cardboard
from Untitled
from The Weather Inside a Greenhouse
from Televised Cardboard
from The Figments, 2025
from Gathering, 2025
from Too Much of a Good Thing, 2025
from Hospitable?, 2025
from The Figments, 2025
from Work
from Weather Reports
from Work
from Work
from Ready and Waiting (2025)
from Held in Line (2025)
from Line Up (2025)
from The Unravelling Body
from The Unravelling Body
from The Unravelling Body
from The Unravelling Body
from The Unravelling Body
from Fire Scenes
from Earlier works
from Fire Scenes book
from Fire Scenes book
from Fire Scenes
from Sea States (I – IV)
from And my eyes became the colour of the sea (A Window for Stow)
from Wave Compositions (I – V)
from Wave Compositions (I – V)
from Wave Compositions (I – V)
from Home is a Place in my Mind
from I give you foxgloves and daisies, forgetmenots, buttercups, wild orchids, and cosmos, lilacs, bluebells, roses, and meadowsweet, evergreen, marigold, and snowdrops, wallflowers, dandelions, and centauries.
from I give you foxgloves and daisies, forgetmenots, buttercups, wild orchids, and cosmos, lilacs, bluebells, roses, and meadowsweet, evergreen, marigold, and snowdrops, wallflowers, dandelions, and centauries.
from I give you foxgloves and daisies, forgetmenots, buttercups, wild orchids, and cosmos, lilacs, bluebells, roses, and meadowsweet, evergreen, marigold, and snowdrops, wallflowers, dandelions, and centauries.
from I give you foxgloves and daisies, forgetmenots, buttercups, wild orchids, and cosmos, lilacs, bluebells, roses, and meadowsweet, evergreen, marigold, and snowdrops, wallflowers, dandelions, and centauries.
from Tin Church
from Tin Church
from Tin Church
from ‘Skarbnytsya Posters Archive’
from ‘The Sun is low’
from Untitled
from Untitled
from Untitled
from Untitled
from untitled #1
from Brothers
from untitled #2
from containment issue
from Untitled #5
from All We Need Is A Window To Some Sky
from Other Works
from Other Works
from All We Need Is A Window To Some Sky
from All We Need Is A Window To Some Sky