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 Eva Isleifs   The Subtle Art of Not Giving a Fuck   Paper 0.6 x 5 x 7.5cm
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 Ross Sinclair   Real Life is Dead/Long Live Real Life, now in Blue vinyl   Vinyl record, banners, record player and neon, 400 x 50 x 50 cm
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 Kevin Harman  G umtree Nights   Chalk, lamda prints on dibond  Dimensions variable
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 Beagles and Ramsay   Pause Relaax Inserrrt   Mixed media 180 x 50 x 45cm
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 Gwen Dupre   Charm   Cast horseshoe in mud, sketchbook extract 2 x 20 x 20cm  This work comes out of a research project that has been looking at the Pollok Free State activist camp, a group who stood against the routing of the M77 through Pollok Park in the early 1990's. The work uses mud from the original site of the camp which has been cast using a mould from a horse shoe found on a walk in Dumfries and Galloway; it is displayed here along with a sketchbook extract.
 Beth Shapeero   Soft and Pliable  Fondant icing 133 x 43 x 43cm
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 Roddy Buchanan   Unexpressed   Open cut-throat razor 1 x 19 x 15cm  Iʼve wanted to make this since 2007. The dateʼs stuck in my head because I remember having a conversation with this man at the opening of my exhibition ʻFrom a City of One Millionʼ at La Criee in Rennes. We talked about the risks you can take in a museum and I said Iʼd always wanted to place a cut-throat razor on a plinth in a gallery open to the public. The next day he came into the exhibition with his grandfatherʼs open-razor and said ʻIʼve wondered what to do with this for years - Here, you should have itʼ. Iʼve always had a visceral response when thinking about open razors, perhaps it goes back to seeing that photograph of  George Johnston defending himself against Brian Stewart in the Express back in the 70ʼs. The young guy slashing the old guy in Glasgow city centre. This guilty object has sat in my studio for years. To be true to the intention of the work, as it was discussed all those years ago, the object has to lay unsecured and open to the audience on top of the plinth.
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 Jordan Munro   Grave Goods   Resin cast of sunflower head and stem 10 x 35 x 35cm
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 Becky Sik   I folded my mind around the details, as mystery drove truth over the horizon   Perspex, glass and wood 90 x 40 x 40cm  A homage to paramnesia. 1:20 scale model of the Display Case that the Apollo 10 (a scoping mission and dress rehearsal for the first and only moon landing) was housed in when it was exhibited in Glasgow from August 11- August 16 1971. In the six days the Apollo10 was on display 56,137 people came to see it.
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 Pat O’Connor   Abigail   Mixed media 22 x 40 x 40cm   The girl with the rainbow is Stanley Kubrick's daughter Vivian. Also known as Abigail Mead, who when her father died, became a Scientologist. The boy with the violin is a pornstar from the 70ʼs who knew Agatha Christieʼs granddaughter. The four women are gallerists, critics and philanthropists. The prism reflects the monolith in 2001 that gave the apes knowledge.
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 Jonny Lyons   Humming and Hawing I   Hand dyed fabric and ink 120 x 180cm
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 Andrew Miller   Grace   Ceramic figures, paint, perspex, wood 30 x 35 x 36cm
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 Toby Paterson   Gable (Engineerʼs blue, red oxide, lamp black)   Cast aluminium, engineers layout ink, primer and watercolour 25 x 17 x 17cm    This is a small sculptural work that employs industrial processes and materials at a studio-based scale. Its sand-cast aluminium form and interim finishes allude to both internal and contextual contingencies that, on an urban scale, characterise both the activity and the inertia that form the experience of the city.
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 Virginia Hutchison   The Hook   Cast graphite 600 x 15 x 2.5cm
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 Jacqueline Donachie   Sail on Silver Girl   Paper, paint, thread and sparklers 60 x 60 x 60cm
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 Graham Fagen   Scheme for Teeth, Head and Hands   Clay Dimensions variable
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 Kate V Robertson   Filter   Cast aluminium and Red Bull 2.5 x 28 x 35.5cm
 Neil Clements   OPS   Composite panel 108 x 40 x 3cm
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 Simon Buckley   WELL   Mixed media 20 x 20 x 30cm
 Louise Gibson   Next Top Model   Copper cylinder, rubber floor lining, resin and lacquer 27 x 54 x 12cm
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 Rabiya Choudhry   Slave World - Where Ends Never Meet and then You Die   Handpainted ceramic vase 22.5 x 18 x 5cm
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 Kenny Hunter   Black Swan   Jesmonite, wood and paint 82 x 35 x 35cm  Before the discovery of Australia, the people of Europe were convinced with an unshakable belief that all Swans were white, this was confirmed by all the surrounding evidence. In fact the phrase ʻblack swanʼ was a common expression as a statement of the impossible. The discovery of Black Swans in 1697 invalidated this long held belief and illustrates the limitations of our learning from observation and the fragility of our knowledge.  Taking inspiration from this the writer Nassim Nicholas Taleb coined the phrase ʻBlack Swan Theoryʼ using it to describe any event that is unexpected and has extreme impact, from the success of ideas and religions, to the dynamics of historical events, fashion, art movements and to many elements of our personal lives.
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 Tessa Lynch   Couplings - Shoes   Steel 6 x 27 x 10.5cm (each)
 Alys Owen   Waiting for Dogot   Jesmonite (marble powder), water pump 40 x 20 x 20cm
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 Cornelius Dupre   Pillar of the Community   Radio tuned to 103.5 fm (Sunny Govan FM) and stickers 90 x 40 x 40cm
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