Central Station

24 Results

• re:Polo re:Polo

  • From: peter.ward.design
  • Description:
  • 2 months ago
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• re:Polo re:Polo

  • From: peter.ward.design
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  • 2 months ago
  • Views: 14
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• re:Polo re:Polo

  • From: peter.ward.design
  • Description:
  • 2 months ago
  • Views: 14
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• re:Polo re:Polo

  • From: peter.ward.design
  • Description:

    1973 Robin Day Polo Chair shells combined with old cabriole legged dining chairs.

    The finish is Colour coordinated newspaper and magazine cuttings.

  • 2 months ago
  • Views: 19
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• Recycling Centre, ECA degree s Recycling Centre, ECA degree show 2010

  • From: Neil McGuire
  • Description:

    Images from Degree Show 2010, Edinburgh College of Art

  • 3 months ago
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• Autonomous, Synchronised Autonomous, Synchronised

  • From: Neil McGuire
  • Description:

     

    As is abundantly evident, its mid-to-late degree-show season. When caught in the middle, it sometimes seems like this time of year is a fairly directionless panic of sleepless nights, over-wrought angst, and a slightly overwhelming feeling that EVERYONE is graduating from a creative course somewhere, and EVERYONE has that great job (or more likely open-ended placement) lined up ahead of you. There is an increasing pressure on graduates (I think, based entirely on unscientific observational non-research) to be the 'next big thing', (partly fuelled by the star-tist and star-chitect culture of the nineties, partly by the increasing commercialisation of higher education and student debts...), and to somehow know exactly what they want to do amid the feedback-fuzz of a design-will-eat-itself* magpie culture. 

     

    
    I sometimes need to remind myself to pause for breath, and at the end of last week I had a chance to go to the ECA degree show and see what was happening there. The show was, overall, (and at risk of a massive blunt generalisation), quite good. But rather than try to review something so diverse and eclectic, I thought it might be useful to think about the context in which scottish (design) students are graduating.

     

    Aside from the willingness with which most graduating students accept the de-facto format of 'degree show', it surprises me that every year at degree show time, the generalisations that people seem to make about the types of courses offered by art and design institutions get writ large in a strange dividing up of 'typography' from 'ideas', or 'concepts' from 'craft.' This chat can become a bit depressing, bar the fact that its hopefully only a few people indulging in it, but it does highlight one particular tension, about 'what industry wants', (as some of those in 'industry' have a habit of phrasing it). 

     

    Of course education and industry (in the broadest sense) should be in close contact and part of a dialogue (also including other external patrons and users of design who are not 'businesses') which is mutually beneficial, but the idea that Art Schools and Design Courses would be better off shaping their courses solely to the needs of business would be a massive error, and indicative of a think-big-but-ignore-the-detail type of strategic initiative for which governments, skill-councils and other quango's are renowned. 

     

    Scotland is a small nation, with even smaller art and design courses, and the fact that there is some diversity in the types of course on offer is a massive bonus, and one that students can take advantage of. We are also in the massively beneficial position of being able to offer cohort sizes and staff/student ratios that would make a London student weep with envy. But we need to beware that we're possibly at the thin end of a very thick wedge (given the recent budget) and its not going to be easy for small specialist institutions to stay small or specialist in the future. It strikes me as strange that when mergers are discussed for Scotland's remaining independent art schools, its always with the nearest big university and never with each other. 

    

    The sinisterly titled D&AD 'New Blood' show, part of the (surely ironicly titled) 'free-range' graduate event (battery farm or zero-grazing anyone?) is a very visual demonstration of just how many creative graduates leave UK courses every year, and how highly many graduates from Scottish courses feature amongst them**, surely an affirmation of the scale and types of courses we can (currently) manage to run. These events (at their worst) are also indicative of the direction art and design education could head if we follow the idea that design courses should be focussed solely on churning out industry-ready and compliant machines. At risk of making a massive historical generalisation, the supposed glory-days of British graphic design, from Fletcher through to Brody and Saville et al. came on the back of a fairly archaic and/or anarchic art-school style education. That we have such strong small courses with their own characteristics, is something to build on, not something to 'iron-out'. 

     

    So the ECA show, (particularly Graphic Design and Illustration as that's where I spent most time), for me demonstrated (in the same way that GSA, DoJ, Grays and some of the other Scottish university degree courses do) a reassuring view of the design landscape in this north-west corner of Europe. The things that excited me most were the projects (like this CCTV one, by Piotr Klarowski) where students had challenged the visual protocol, tried to find a new angle into a topic, and allowed their time at university (and the freedoms afforded) to produce ideas that might not currently sit very comfortably in the grafik (sic) mainstream. But that's a reflection of my personal tastes and interests, and, (while I'm convinced it's those students that will make the most interesting designers, advertisers, filmmakers, artists and so on), I'm equally glad of the students who have produced more mainstream and archetypal work, but executed it with a depth and rigour, as it suggests a course (and design community?) where people with these interests and ideas can feed off each other, challenge each other, and the binary thinking that lurks around the corner can be held at bay for another year.

     

    

     

    [I've used some shots of the eca show to illustrate this post, and tried to credit them below — any errors i apologise for, and please let me know, so they can be corrected].

    Images, in order of appearance:

    Signage

    Recycling Centre outside Main Building

    Main Hall, Textiles Product Design and Others

    Val McLean, Intermedia Art

    Stefania Strouza, Art Space and Nature MFA

    Graphic Design Entrance

    Piotr Klarowski, Graphic Design, CCTV Project

    Assorted Business Cards

     

    *Thanks to DC and KD for the lend of this turn of phrase.

     

    **Though we'd do better to look at the international context rather than the national and work out whether we're any good or not.

    
    

     

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  • 3 months ago
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• Go Green Campaign in Context Go Green Campaign in Context

  • From: Gorillagrafiks
  • Description:

    Concepts for a 'Go Green' option campaign. Coursework that was to look at a way to integrate an enviromentally friendly project within a company.
    
    My idea was to have all of our print work printed on recyclable material, these advertising concepts are to promote the 'Go Green' campaign to clients.

  • 3 months ago
  • Views: 26
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• Go Green Campaign Go Green Campaign

  • From: Gorillagrafiks
  • Description:

    Concepts for a 'Go Green' option campaign. Coursework that was to look at a way to integrate an enviromentally friendly project within a company.
    
    My idea was to have all of our print work printed on recyclable material, these advertising concepts are to promote the 'Go Green' campaign to clients.

  • 3 months ago
  • Views: 21
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• Keren Cytter: The new 'kit(s)c Keren Cytter: The new 'kit(s)chen sink'

  • From: JacMantle
  • Description:

    Tramway, Glasgow

     

    Right at home in today’s culture of mash-up, Keren Cytter takes elements of seductive, Hitchcockian noir, hammy melodrama, home videos, and social realist ‘kitchen sink’ forms, and melds them together in non-linear, many-layered narratives that showcase their own fakery.

    Four Seasons (2009) tells the tragic tale of Lucy/Stella, a wayward Hollywood beauty in a leopard-print dress who climbs the stairs to her neighbour’s flat to request that he turns his music down.  Through the scrambled re-wind of events that follows, she is led to discover that she’s not Lucy, but Stella, and is, in fact, dead.

    Far less elaborate than Hitchcock’s famous title sequences, the red ‘Four Seasons’ title is nevertheless just as evocative of the film to come: straight out of an old Christmas edition of The Radio Times, it promises a fake Christmas tree with lacklustre baubles, green plastic doilies, and a ‘70s-esque cream gateau birthday cake; tawdry treats and a celebration of kitsch that the film doesn’t fail to deliver. 

    In its use of ‘80s kitsch particularly, the film points to culture’s gross, routine fetishism of cultural iconography from the recent past, whilst itself being complicit in this act.  Classic cinematic clichés such as the smoky, winding staircase, and the thick, sticky Ribena blood running down white bathroom tiles are not about encouraging the viewer to suspend her disbelief, nor are they a revelatory exposé of the artifice of the screen – this, of course, is old news.  Instead, they express a greedy lust – if not love – for the material stuff of drama, raiding the mise-en-scène archive and recycling its most overt motifs.

    Although Four Seasons is very much a product of today’s cultural climate, an effect of these multiple, clashing styles is that it seems, oddly, to exist at no clear point in time.  The absence of historical continuity, in addition to the typically avant-garde discontinuous narrative, prevents it from being easily “read” in a linear fashion.  In Cytter’s wonderland of stylistic impurity, conventional tools of interpretation are defunct, and only the artificiality is constant.

    Rather than parodying these forms and subjects, however, Cytter portrays them with warmth.  A reviewer of the New Museum’s 2009 survey show The Generational: Younger Than Jesus, in which Cytter exhibited, observed in the New York Times that characteristic to the artists included was a preference for sentiment over irony.  This is certainly applicable to Four Seasons, in which the voice of the female lead is the source of whatever sentiment we feel towards the characters.  Speaking brightly in a slightly-too-loud, earnest, almost childlike voice, Lucy/Stella directs her chatter to the male character, but at times seems to be speaking to herself; an unofficial narrator of the events as she sees them. 

    With a murder of passion, a domestic setting, and almost certainly a bit of IKEA furniture, the drama can be likened to a TV soap opera.  But its integrity is in doubt, the viewer’s alliance with the characters changeable, and verisimilitude a moot point.  In the current age of mash-ups, re-interpretations, re-makes, re-hashings, homage, pastiche, and still other forms that adapt existing material, any new product is essentially read in terms of its relations to the canon.  Keren Cytter’s films, then, can be seen as bringing the kitsch to ‘kit(s)chen sink.’

    
    

    Four Seasons runs from 16 April - 20 June 2010 at Tramway, Glasgow.

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  • 3 months ago
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• Re:Use & Re:Make Re:Use & Re:Make

  • From: Siroko
  • Description:

    This is a project for Glasgow School of Art's sustainability seminar and campaign. Members of the Visual Communications department were asked to produce a poster based on an art school specific recycling topic to deploy at GSA's launch of its new sustainability program.

  • 3 months ago
  • Views: 32
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• Is Postmodernism a mirror of R Is Postmodernism a mirror of Retro culture?

  • From: leigh.cho
  • Description:

    RETRO RENAISSANCE

    A text to accompany the Retro Renaissance exhibition 

    Written by

    Leigh Chorlton

     

    April 2010

     

     

     

    Although retro derives from the Latin prefix meaning backwards or in past times. the title for my show Retro Renaissance I conceived as an Oxymoron, in that the current definition of retro only encapsulates twentieth century culture; a recycling of the recent past. Another reason is that Retro at present isn’t regarded as an art definition at all, though Postmodernism does seem to share certain characteristics with retro culture: -

     

    Just as historians and philosophers began to question the representation of history and cultural identities, art and design began to reflect these changes. The Attributes of retro, its self-reflexiveness, its ironic reinterpretation of the past, its disregard for the sort of traditional boundaries that had separated ‘high‘ and ‘low‘ art, all echo the themes in Postmodern theory.1 

     

     

    A Postmodernist retro could ironically encapsulate all history, because a post-modern retro is a parody of retro culture, and to comment on retro is to question its parameters. Perhaps we are living a Retro Renaissance right now; that is a Renaissance of retro culture, in which the incredible acceleration of information in our lives creates an aggressive recycling of the past. A past that becomes unbearably lightweight in its re-telling. Postmodernism reflects this recycling of the past in art, where we have found new ways to tell ourselves our own history that is palatable and simplistic. Retro Renaissance is a comment on these methods, emptying out the content to counteract current difficulties in coming to terms with the past in the present. 

     

    I don’t mean to make out that all history could be retro, or that this is a viable proposition for mainstream culture (this would be a scary prospect), or make out that I’m particularly serious about introducing a word not used in art, but I am content to play on words to reveal the complexity and interconnectedness between art and culture, and in my art play with the representation of retro. This playfulness is my attraction to the attractiveness of a lite history but simultaneously with misgivings at this lightness; wanting to say or believe in something more.

     

    This project is a tongue in cheek revival of a revival with my sense of humour; and asks the question why we are destined to always search for the future in the past, always reliant on the art and language of the dead. And yet whatever we create with an eye on the past it can never be the same, and never have the same meaning. Always distorted by the context of the now, emergent within a different cultural significance. If the past is there to help us to understand ourselves in the present, we have to know the past to help us understand whether what we do now is any good. Looking to a past time and its art is to go through a process of discovery to somehow find a truth about ourselves through comparative means. To inhabit a genre of painting and play with its significance is to sift out what is important in that genre to our present, though what seems to come up time and time again, instead of a serious post modern study, is an ironic attitude to the past that makes light of history in a post modern context, yet without irony art is in danger of looking kitsch and lacking in realist perspective, as irony suggests self-reflexive truth in knowing whatever art you make is first and foremost made and therefore a theatrical construct.

     

    It seems to me that the Renaissance exists in a separate entity. That the values held are alien to our current circumstances even though inherently European. This is perhaps due  to its context, where Renaissance art is only available first hand in museums or cathedrals, standing apart from everyday life suggesting otherness and a place of escape or contemplation. There is a tendency to appropriate both before and after the Renaissance but not during; it has an untouchable quality, a sanctity, and at its height perhaps impossible to equal in beauty and skill. 

     

    After Modernism we seem to have attempted to lose the consecrated in art. Modernism is traced back to Kant and the reformation, ridding representation of sensuality, ritual, effigies, and figurative imagery, resulting in puritan consecrated thinking and turning art into conceptual thought. With Kant sensuality and talent are contrary to truth; skill for the sake of skill becomes what is evil in art. After modernism, Postmodernism allows for the sensual to come back into art in the practice of art, where it opens up and accepts retro’s half ironic, half nostalgic terms. A sensuality diffused by joking around with itself... Not taking itself seriously.  

     

    The irony has come about, in my mind, by an overly aware and overly conceptual view of our landscape as a construct based firstly on analysis, recording, and observation. This analysis is then re-read back to ourselves to gain perspective on what constitutes our culture. It looks at sameness within difference, difference within sameness; Life becomes discursive rather than lived. This mechanism is shown in Michael Foucault's “The Will To Knowledge” where sexuality is transformed slowly from the seventeenth century to the twentieth into a discursive practice in order to control and define a moralistic code of practice; a way in which to be free of sin in religious terms, defining sexuality in the public sphere in order to control the private. Culture encapsulates everything, and because of this it is also meaningless. It a silent notion that has a hold on the real or the everyday through political correctness, social graces, and taboo. Postmodernism is precisely this knowing look at cultural discourse, looking with scepticism the position in which this discourse has placed art. Kantian puritanical thinking does not allow the sensual to come back without irony and facetiousness.

     

    Representation is a part of, and a coming to terms with, this discursive process in culture. Art historian  Louise Milne writes: -

     

    The mind is visualised as (or at) an interface, which is always a plane of representation. To say this veers towards tautology: that we cannot represent processes of representation, other than through processes of representation. Yet it is Freud’s great insight, of course, that the interfaces of brain, body and world are four dimensional; representation itself limits perception, like a curved mirror stretching out of sight.2

     

     

    This limitation of representation can be seen when artists use historically heavy subject matter like the holocaust such as Anselm Keifer or Christian Bolanski. Anthony Julius in his book Transgressions The Offences of Art writes in relation to Boltanski and the Chapman Brothers: -

     

    Only a non-transgress art practice, one that acknowledges the certainty of its defeat and is willing to efface itself before its subject, while knowing this subject is an impossible one, can negotiate such perplexities. It must be Allusive, modest, fragile, provisional. It must give witness to the inadequacy of images, and therefore its own inadequacy, to retrieve the lives that were extinguished: see the lost, unrecognisable faces in Christian Boltanski’s Reserve (1990). It is an art that meets its subject at the minds limits. It knows that there are limits to representation that cannot be removed. 3

     

    These limitations of representation like a curved mirror stretching out of sight, is analogous to all retro historical works. The impossibility of representing something past in the present. If it becomes commemorative then it places the work purely historically, which is no use to the present. But it cannot trivialise by making it just about the present either as we need the past as a guide. It must walk a tightrope between the two and show all the pitfalls and difficulties of representing something that is not representable.

     

    Perhaps the future is a place where nothing takes precedence; no historical era that is dominant; all eras are all at once. Anything history has to offer is usable and transformable, away from its former distinction or semblance of itself. Retro is no longer big comebacks of certain styles or eras taking hold of a culture. It is many comebacks constantly merging into one another. The one way dream of modernism lost, and retro perhaps was the last vestiges of that dream. Guffey writes quoting Baudrillard: -

     

    ‘the great event of this period, the great trauma,’ he writes, ‘is this decline of strong referentials, these death pangs of the real and the rational that open into an age of simulation’4 

     

    These strong referentials that looked as thought they existed still in early retro phases such as in Art Nouveau have been reduced to mere simulation. Guffey goes on to say “for Baudrillard, retro attempts to resurrect the past ’when at least there was history’ along with the unconscious, he argues, history has become one of the few enduring myths of our age”5 Perhaps retro has also lost the fight for attempting to bring back a notion of history into the present.

     

    My work is not about the Renaissance and never could be. It is about a cultural phenomenon that I am drawn to and bewildered by… Retro culture, retro is Lite, retro does not speak of something deep or profound, retro is spoon fed, retro teaches to think less, retro is escapism, forgetfulness, Retro isn’t questioning in what it appropriates and doesn’t ask deep questions. Retro is only concerned with the present, stylistic gesture. Unless of coarse it’s a parody of retro.

     

     

    In art parodies of a long past aesthetic can be found in today’s art. Though my work is not nostalgic… it is not possible to even associate with a past so incongruous to our own. An aesthetic so Alien. My usage of the renaissance is a post modern retro renaissance. Bringing together a past aesthetic with Postmodernism to make something new. Irony is there, alongside the question of visual recycling. I pose my work as question...can art accept any history sampled from the past? 

     

    Its not so much that working retrospectively is a dud canon, it is that a return must be questioning the present and not style for the sake of it. This requires an understanding of the present cultural construction and bringing back something that runs counter to it. Post modern art is here perhaps to test culture and the viability of its constructed boundaries. Art will test cultural tropes and try to override them… there to be played with.

    1  Guffey. Elizabeth, Retro: The Culture of Revival Reaction Books 2006 pg 21 

    
    

    2  Milne , Louise. The homunculus in the Box (2009) http://www.greymatterexhibition.com/files/1.Louise%20Milne%20The%20homunculus%20in%20the%20box.pdf 

    
    

    3  Julius, Anthony Transgressions The Offences of Art Thames and Hudson 2002 Pg 221

    4  Guffey pg 28

    
    

    5  Ibid pg 28
    
    
    www.retro-renaissance.com

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  • 4 months ago
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• APB recycling APB recycling

  • From: StephanieSpindler
  • Description:

     

    One of the things I am passionate about is Women. I am a woman and I am interested in how human beings take on gender roles as part of our lives. The image of Linda Benglis, naked holding a giant cock is one of the images that influenced me the most in my artistic career.

     

    The first time I saw this imaged I was completely repulsed and felt violated by having it in my presence. This turned into a fascination for discovering why I found this so repulsive.  It led me to examine sexuality in contemporary culture and all the secrets and confusing ideas about the phallus. Part of my master degree included writing a historical text; I chose to investigate women’s images of the phallus. It did not get a roaring response in conservative Colorado. I thoroughly enjoyed investigating this, it was humorous and it opened my eyes to some very interesting and revealing art about sexuality and gender as a sub topic within identity.

     

    What isn’t interesting about women and phalluses?  The relationship I finally was able to understand about Benglis’s image was her power over her own sex and sexuality. For the thousands and thousands of images of passive reclined women we have one bold knight in shining flesh. It’s only repulsive because it’s a new idea, and one not readily available in the media, sure naked women posing as the object of desire, Kelly for example, but this is making the woman an object, like any other piece of equipment or toy to be used and played with without any consideration to the object. Benglis is confronting us with her own idea about her sexuality and her own power over it.

     

    The time line comes from the date that the image came out, 1974, Art Forum magazine, and The Sun yesterday. What has changed since 1974? This question makes me critical of The long Loch by Faith Wilding and Kate Davis. Water colours!?! They gave us water colours as a direction to go in. What is exciting, stimulating, interesting or relevant about this? Haven’t women spent enough time on their backs contemplating where or how they might move forward? Needless to say I was very disappointed with this “feminist” exhibition as a part of the GI festival.

     

    I think a little more cock and a little less reflective contemplation is in order.

     

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  • 5 months ago
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• Arty political Broadcast Arty political Broadcast

  • From: StephanieSpindler
  • Description:

    Stephanies alter ego.

  • 5 months ago
  • Views: 27
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• APB Recycling APB Recycling

  • From: StephanieSpindler
  • Description:

    A short interview with two lovely women about the influence of women in media, how images might encourage critical thought about women and how these images might make the public feel about women.

  • 5 months ago
  • Views: 138
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• Ten Green: Tron Table Ten Green: Tron Table

  • From: royshearer
  • Description:

    Tron is a coffee table, constructed simply from local recyclates. The design stemmed from an ongoing collaboration with the Coach House Trust, a Glasgow-based charitable trust that runs all sorts of ecological schemes and occupational therapy workshops. The brief is to find re-uses for the large amount of material the Coach House Trust collects for recycling, thereby tightening the circle of material re-use, keeping it local, reducing environmental costs as well as generating revenue.

  • 5 months ago
  • Views: 34
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• Ten Green: Modular Shelving Ten Green: Modular Shelving

  • From: royshearer
  • Description:

    Ten Green is a modular shelving system, constructed simply from local recyclates. The design stemmed from an ongoing collaboration with the Coach House Trust, a Glasgow-based charitable trust that runs all sorts of ecological schemes and occupational therapy workshops. The brief is to find re-uses for the large amount of material the Coach House Trust collects for recycling, thereby tightening the circle of material re-use, keeping it local, reducing environmental costs as well as generating revenue.

  • 5 months ago
  • Views: 25
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• Ten Green: Modular Shelving Ten Green: Modular Shelving

  • From: royshearer
  • Description:

    Ten Green is a modular shelving system, constructed simply from local recyclates. The design stemmed from an ongoing collaboration with the Coach House Trust, a Glasgow-based charitable trust that runs all sorts of ecological schemes and occupational therapy workshops. The brief is to find re-uses for the large amount of material the Coach House Trust collects for recycling, thereby tightening the circle of material re-use, keeping it local, reducing environmental costs as well as generating revenue.

  • 5 months ago
  • Views: 26
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• Recycled Selves Recycled Selves

  • From: StephanieSpindler
  • Description:

     

    The as of yet untitled collaborative project between Lynn-Sayers McHattie and myself is a cross disciplinary project between fashion, sculpture, and the intimate memories, beloved objects, and donated wardrobe pieces of a few select individuals.

     

    Lynn has been interviewing women about their wardrobes, a personal journey through how we dress ourselves, how we feel about it, what our strategies are and above all what it means.

     

    Lynn interviewed me about my wardrobe and it was a wonderful journey about me, by us. When confronted with showing someone my wardrobe I was able to describe it as a palate, like a painter, full of colours, textures, shapes and styles that I use to re-invent myself, describe how I am feeling through what I wear and essentially be creative as soon as I start my day. I am a wardrobe collage artist and it’s something that I commit to by how I collect, purchase and recycle garments to express myself to the world.

     

    The interview is a project that Lynn is doing for an exhibition as part of the GI festival; the collaborative project Lynn and I are doing is based on an extension of the interview. We are creating a new garment from recycled donations from each participant, including beloved objects, memories, and reflections or ideas of how “we” as individuals see ourselves. We are using a block pattern for each garment that may be functional or non functional and we are creating a new dress/sculptural collage garment based on the donated clothing or objects but also the conceptual information around each individual. This may include new fabric that emulates a feeling or quality that is distinct to that specific person.

     

    In the search for meaning and identity this project has a very intimate connection to our perception of our own human condition. Lynn and I have started this project by going through the interview process, donating things from our own wardrobes as well as the memories and beloved objects. Tackling this was not as easy as we thought. We are both feeling excited about recycling our things but have some apprehension about destroying something that obviously has a special meaning and recycling it into something else.  Things I have donated include my late father’s fantastic retro silk ties, a brilliant velvet blue jacket I got in a charity shop from my home town, a brilliant blue dress that I love everything about except the way it looks on me, a beautiful wool pink feminine long sexy pencil skirt that I’m sure defines femininity in a multitude of ways( particularly for me), lovely sentimental shells I collected in Costa Rica, flat stones I collected in Oban, an image of me by a dear friend in a photo shoot we did, a drawing from my sketchbook and as a central object,  and I’ve asked Lynn to make a focal piece is an image of me my partner took in a euphoric, relaxed state, in a lodge in Costa Rica, in a rain forest, surrounded by mosquito nets and lovely humidity.

     

    I think it’s difficult to say what all these objects mean without writing a novel, so for now I will update our progress as we make it.

     

    This project will manifest in storyboards and new wearable or non-wearable sculptural/ garments that create a conceptual narrative about the individual who participated (including two garments that are Lynn and myself). The finished project will culminate in an event/ exhibition as part of the West End Festival in June that will take place on Montgomery’s Cafe.

     

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  • 7 months ago
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• My sculpture week final piece My sculpture week final piece

  • From: Bryndis
  • Description:
  • 8 months ago
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• Winter Wonderland & Swop shop Winter Wonderland & Swop shop

  • From: deargreenplace
  • Description:

    Sat 5th Dec 10-5
    
    At Dear Green Place, behind Kelvinhall Underground Station, 7 Dalcross St, G11 5RE
    
    "A day of activities dedicated to helping you have a greener, cleaner
    christmas and try your hand at a bit of pressie making"
    
    Brought Glasgow Wood Recycling a social enterprise and charity dedicated to diverting wood waste from landfill.
    
    Day includes:
    Swaparama - All day Swap Shop 10 - 5 - bring items to swap; clothes, bric-a-brac
    Winter Planting Workshop 11-12 - seasonal plants available
    Box making workshop 1 - 2
    Green Wall intro talk 3 pm
    All welcome.
    
    
    --
    Dear Green Place
    Glasgow Wood Recycling's new shop and info site
    Open 10am - 5pm, Tue to Sat
    7 Dalcross St.
    G11 5RE
    
    Tel: 0141 237 8546 / 944 6541
    www.glasgowwoodrecycling.org.uk
    Charity Number SC 38772 Company SC309745

  • Blog post
  • 9 months ago
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