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Landscape and the Anthropocene

How does creative practice respond to, and affect, the current geological age – defined by the dominant influence of humans on the landscape?

Handbound Publication
by Jack Garvin
Fossils zine
by Lou Palmer
A vast record of time at your feet (Degree Show)
by Lou Palmer
Nostalgia
by Katie Tweedie
160 x 200cm, Oil on Linen, 2025
Let’s Go Away for Awhile
by Keith Malone
The An Sailean Project – Lime Burning in Scotland
by Paul Anton Huth
Drift
by Lima Zhao
ClydeGO
by Lima Zhao
snake in a stable
by Ines Huegle
The Primordial Court
by Aurora Bucca
An Exercise in Tethering-to
by Aurora Bucca
The Primordial Court
by Aurora Bucca
Loom of Wings
by Louise Finlayson
You Witnessed Me Walking
by Lorna Swinney
Laser cut01
About having a home
by Anyi Guo
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
Pearls of the Indian Ocean
by Elena Edwards
Leaving Behind Moratinos
by Sophia Kalmijn
Beneath Bridges
by Sophia Kalmijn
In the Wind
by Sophia Kalmijn
Stacked chairs beside an empty stage.
Threshold
by Rohan Mahoney
An etching on The History of West Prince's Street
West Prince’s Street
by Anna De Souza
Painting of Stonehenge
Took The Dog To See The Stones
by Anna De Souza
Paper sculpture of a 2D Mary Anning
Squashed and Rolled Out Again
by Anna De Souza
Etching of a Bog body
Bog Body
by Anna De Souza
Sleepless Rest, three etchings on dreamscapes
Sleepless Rest
by Anna De Souza
Bird Watching
by Anna De Souza
Degree Show
by Anna De Souza
reCAPTCHA in the real world
by Eve Giltinan Allais
Technophobia 2026
by Claire Mackenzie
Technophobia 1970-80s
by Claire Mackenzie
Technophobia 1960
by Claire Mackenzie
Technophobia 2010
by Claire Mackenzie
Technophobia 2000
by Claire Mackenzie
Technophobia 1990
by Claire Mackenzie
Blessed by the Absence
by Blair Weir
Earthsea: Lochaber Observatories (2026)
by Ailsa Carrigan
Etchings
by Amy Blackbourne
close-up of wooden folding structure with painting inserts in white hallway
‘Up and Down’
by Amy Blackbourne
‘The Night Shifts’
by Amy Blackbourne
Frequencies of Coexistence, Glencoe
by Freya Wootton
LWTUA LWTU LWT LW L (2026)
by Jonny Keen
Masquerade I, Oil on Canvas, 250x170cm 2025/6
by Hope Dunlop-Lynn
Peculiar Company, Oil on Canvas, 100x100cm, Details
by Hope Dunlop-Lynn
Bench I, Mahogany, Oak, Beach, Pine and Walnut wood, flame torched and stained, finished with a gloss varnish 126x45cm, 2026
by Hope Dunlop-Lynn
Bench I, Mahogany, Oak, Beach, Pine and Walnut wood, flame torched and stained, finished with a gloss varnish 126x45cm, 2026. Details
by Hope Dunlop-Lynn
You”ll Never be a Zebra, Oil on Canvas, 110x170cm, 2026
by Hope Dunlop-Lynn
You”ll Never be a Zebra, Oil on Canvas, 110x170cm, 2026 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
Starling Mimicry of A Two-stroke Engine
by Anna De Souza
Kilnamara, The Shape of Our Time
by Jack Garvin
Nuclear Winter
by Avril Richford Riddick
Creative Platform Exhibition 2026
by Avril Richford Riddick
Complicit
by Avril Richford Riddick
Pollution
by Avril Richford Riddick
over the shoulder view of a projection showing a tattoo needle on a white background
Georgia
by Abi Rosa Ebbatson
“Howden’s Crossing”
by Isabella Gibbons
REHEARSALS
by Rita Rogers
Knoydart: in Conversation
by Libby Hiatt
Knoydart
by Libby Hiatt
Bratach nan Croitearan (The Crofters’ banner)
by Sasha Opit
03
About Having a Home
by Anyi Guo
Between the Trees, Through the Shade
by Sophia Kalmijn
WHAT TIME TAKES, TIME SHAPES
by Youyitai Zhang
Taxonomy of Becoming
by Josie Williams
Fragile Bodies
by Josie Williams
A Center for the Built Environment
by Maxwell Raymond Berner
Hands in the Marram
by Silas Mendez Theilfarth
Grey Area
by Jacob Heaton
Untitled, 2026
by Emma Carmichael
Red Door, 2025
by Emma Carmichael
Dark Transitions, 2024
by Emma Carmichael
Dreamlike State, 2025
by Emma Carmichael
‘Stripped’ 2026
by Emma Carmichael
Built Rituals
by Joe Gelder
The Walkway for Pausing
by Heather Young
SPIRAL FIELD: Bere Barley, Flax and Black Oats
by Jasmin Robertson
Masquerade I, Oil on Canvas, 250x180cm, 2025/6 Details
by Hope Dunlop-Lynn
The Council of Adaptation, Defence and Loss
by Philippa Cook
image of Wet Dog (2026) installation
Wet Dog
by Eilidh Gorton
Intertidal Negotiation
by Megan Birkby
The Regenerate Way
by Mabel Sangster