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Adaptation and Reinvention

We live in a time of unprecedented change – what does it mean to adapt in 2023? What societal pressures and norms are we forced to adapt to, and what radical potential could autonomous reinvention hold?

Thousand Faces 千面

by Qingqing Zhong

No Llore Por El Petróleo – I Didn’t Cry For The Petrol

by Valeria Guaimare

Two tall organic pillar-like forms connected by a suspended hose, illuminated with dim red light in a studio installation setting.

Nourished, Destroyed.

by Rachel Houston

The Holy Mountain Film Poster

by Maya Randall

Controlled Chaos

by Lisa-Carlotta Küsters

Sketchbook Pages

by Lisa-Carlotta Küsters

The An Sailean Project – Lime Burning in Scotland

A Memory of a Fragile Archive

by Mikhail Nikolaev

A moment of extreme psychic tension; a threshold between death and the birth of a new self. Drawing from the mythic birth of Hades, god of the underworld. The self is not gently transformed, but dragged into becoming through the internal collapse of the old. It captures the final stage of psychic compression, when the old self has nearly died but has not yet released the new form. Visually, the body is curled, veined, and clenched a deathly shell of flesh containing a smoldering coal. The figure doesn’t represent new life in the traditional sense but the emergence of a consciousness forged in the aftermath of trauma, a self that could only exist because the former one didn’t survive. The figure is a tomb and a womb simultaneously. It gives context to the flesh as both container and evidence; the skin of the old self wrapped tightly around the genesis of the next. The myth of Hades doesn’t end in joy or closure; it hovers in the trauma of transition, the brutality of transformation, and the sacred violence of becoming something that has never existed in one’s self before.

Inner, Outer, Center, Self

by Shannen Muhl

Secret Words in Red

by Shannen Muhl

Coltas nan Gàidheal

by Jasmine Mcphee

Stacked chairs beside an empty stage.

by Rohan Mahoney

A young man balances between a wall and floor extending a knife toward the ground in an otherwise empty room.

Pieces Like A Lizard

by Rohan Mahoney

An etching on The History of West Prince's Street

West Prince’s Street

by Anna De Souza

by Anna De Souza

Paper sculpture of a 2D Mary Anning

Squashed and Rolled Out Again

by Anna De Souza

by Anna De Souza

Caerlaverock Castle: Construction Hub (2025)

by Ailsa Carrigan

Original Matters (2024)

Peculiar Company, Oil on Canvas, 100x100cm, Details

by Hope Dunlop-Lynn

You”ll Never be a Zebra, Oil on Canvas, 110x170cm, 2026 Details

by Hope Dunlop-Lynn

Call a Priest, Oil on Canvas, 105x105cm, Details

by Hope Dunlop-Lynn

Turn Dial, Oil on Canvas, 100x100cm, 2026

by Hope Dunlop-Lynn

Turn Dial, Oil on Canvas, 100x100cm, 2026, Details

by Hope Dunlop-Lynn

by Hope Dunlop-Lynn

Anthropomorphic Drawings

by Hope Dunlop-Lynn

by Amy Al-Khoury

To Sunny Yoon, ComDes ’26 & GSA From Amir Saidani

For Drawing Out Loud~

Chapter Three: Inhabit

by Isabella Gibbons

“Howden’s Crossing”

by Isabella Gibbons

by Owen Stefani-Bose

Brass & key – A Boutique Hotel & Jazz Bar

by Ilyas Watters

The Piano’s Broken Harp

by Coire Simpson

One-Second Escape ｜我的身体里有一条河

by Hannah Grajciar

Springburn Bird Conservation Centre

WHAT TIME TAKES, TIME SHAPES

by Youyitai Zhang

Methods and Context

by Hanan Hussain

by Yuanyue Zhao (Moona)

Taxonomy of Becoming

by Josie Williams

by Josie Williams

by Josie Williams

A Center for the Built Environment

by Maxwell Raymond Berner

by Esme Leparoux

Human Chess (2024)

by Charlie Matheson

Adult Shop Signage

by Natalie Yong

Masquerade I, Oil on Canvas, 250x180cm, 2025/6 Details

by Hope Dunlop-Lynn

The Council of Adaptation, Defence and Loss

by Philippa Cook

Gold Diggers of 1933

Intertidal Negotiation

by Megan Birkby