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Medium, Method and Material

These works centre ways or methods of working where the material or medium of the work is central to how the work communicates, engages and builds meaning with its audience.

A mounted impala head displayed on a wallpapered photograph of a taxidermy warehouse

by The Lion Room

Thousand Faces 千面

by Qingqing Zhong

Home Sweet Home

by Genevieve Dawson

Infill. Urban Housing Tradeston

by Jamie Harrison

The Garden Grumbo And the Terrible Smell

by Maya Randall

Call Me – Hollie McNish Poem

by Maya Randall

The Holy Mountain Film Poster

by Maya Randall

by Maya Randall

160 x 200cm, Oil on Linen, 2025

Let’s Go Away for Awhile

by Keith Malone

Call and Response iii

by Sophie Pickering

The Primordial Court

by Aurora Bucca

The Primordial Court

by Aurora Bucca

by Louise Finlayson

‘What happens on Earth, stays on Earth.’

by Milana Wonke

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

“The Shape of Understanding”

by Jasmine Mcphee

An etching on The History of West Prince's Street

West Prince’s Street

by Anna De Souza

Distemper painting of figure with scissors thrown to the head

by Anna De Souza

by Anna De Souza

Distemper paintings of conjoined twins

Conjoined Twins

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

by Anna De Souza

by Anna De Souza

Familiar, but wrong

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

Oh sit down, sit down next to me.

‘unmaking’ of the ‘Making’ installation

by Jess Pickering

‘unmaking’ of the ‘Making’ etching tests

by Jess Pickering

Earthsea: Lochaber Observatories (2026)

by Ailsa Carrigan

close-up of wooden folding structure with painting inserts in white hallway

‘Up and Down’

by Amy Blackbourne

‘The Night Shifts’

by Amy Blackbourne

Original Matters (2024)

LWTUA LWTU LWT LW L (2026)

Degree Show documentation

by Varvara Yurenko

Masquerade I, Oil on Canvas, 250x170cm 2025/6

by Hope Dunlop-Lynn

Peculiar Company, Oil on Canvas, 100x100cm 2025

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

Call a Priest, Oil on Canvas, 105x105cm, 2026

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

Starling Mimicry of A Two-stroke Engine

by Anna De Souza

A sepia woman lies beneath a contraption of wooden beams, framing her face and covering her body. Magazine cut-outs on paper.

by Bee Ashcroft

Extended Design

by Amy Al-Khoury

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

For Drawing Out Loud~

Spilt Milk – the emotional significance of objects.

over the shoulder view of a projection showing a tattoo needle on a white background

by Abi Rosa Ebbatson

The Folds of Everydayness

I Love Charing Cross and Charing Cross Loves Me

by Safia Hamidat

by Owen Stefani-Bose

by Owen Stefani-Bose

‘Dhivehige Anhenun / ދިވެހިގެ އަންހެނުން’, Film

by Malak Naseem

‘Aishath, Aminath, އާމިނަތު, އައިޝަތު’

by Malak Naseem

‘Aishath, Aminath, އާމިނަތު, އައިޝަތު’ – Installation

by Malak Naseem

by Coire Simpson

The Piano’s Broken Harp

by Coire Simpson

One-Second Escape ｜我的身体里有一条河

What’s It Made Of?

by Maryam Rashid

by Josie Chanfi

WHAT TIME TAKES, TIME SHAPES

by Youyitai Zhang

Methods and Context

by Hanan Hussain

Taxonomy of Becoming

by Josie Williams

by Josie Williams

‘I’m working on building (tenement)’

by Josie Williams

A Center for the Built Environment

by Maxwell Raymond Berner

by Ruth Babington

Human Chess (2024)

Call and Response i

by Sophie Pickering

by Sophie Pickering

From Fabric to Paper

by Sophie Pickering

by Sophie Pickering

Call and Response ii

by Sophie Pickering

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

by Hope Dunlop-Lynn

Am I Just making Wallpaper

by Finn Roberts

Knitted Kitchen

by Emma ‘alba’ Scarlett

NorthPoint Hall

by Mabel Sangster