Alternative Guide for Walking
Publication Launch

Wednesday 26th February

A publication documenting a walk between Arrochar and Inveruglas. Whilst on this walk, the practitioners are exercising a new way of walking and experiencing the outdoors. The work is photographic and written, produced both independently and collaboratively. Landscape has often been seen as a place for conquer, dominance and physical strength, this publication challenges these ideals, reverting the stereotypes and using walking and landscape as a safe space for conversation and free making. Veering away from the path is not just advised but encouraged.

Jess Hay, Sofie Keller, Rosie Trevill and Silke Zapp are four visual practitioners in collaboration, focusing on the outdoors as a space to discuss identity politics, and community-based making.

Copies of the publication will be on sale, £5 is suggested, but no-one refused a sale due to lack of funds. All profit made from the publication sales will be put towards the next walk, where people will be invited to join the collective on their excursion.

Prints from the publication will also be available for purchase. 

Alt Guide for Walking on Instagram 

This event was selected from the Lunchtime gallery open call this year.

i guess it's about time...
Robert Thomas James Mills

Publication Launch
Saturday 22nd February

Robert Thomas James Mills is an artist and writer who focuses on earnest and humorous performances which explores his own realities and identity.

Working things out by playing with words, Robert's work is usually an ever public conversation with himself. However this publication is a (semi) public conversation with you. These words are from a year long project in which (roughly) once a week a piece of writing was sent out in an email subscription in an attempt to explore, experiment and discover what the capacities of being a writer for Robert meant.

Some are good, some are bad, but they're all mostly honest and mostly unedited.

And that journey is still on-going.

Please join us for the launch of this new publication, where selected texts will be read around and some context around the project will be given.

This event was selected from the Lunchtime gallery open call this year.
Selected Drawings, ’91–’19
Jamie Johnson

Publication Launch
Friday 14th February

'The book calls into question the origins of artistic impulse, the roots of artistic talent, and asks “what makes a good drawing?”' - 5b

Jamie Johnson creates intricate abstract landscapes that often hint at Scottish geology and folklore. Working across painting, collage, printmaking and video, his work explores cultural symbolism from both modern and ancient worlds, communicating observations and ideas by creating an autonomous visual language. Selected Drawings chronicles a group of works on paper made by the artist between 1991 and 2019, tracing the genesis of his unique take on characterisation and storytelling.

Jamie Johnson is a Glasgow-based artist who graduated from Duncan of Jordanstone College of Art, Dundee in 2011. Recent exhibitions include: Crocodile Tears, Morgan Fine Arts Centre, New York; Allder, Chopping Block Gallery, London; Primitive Plane, SWG3 Gallery, Glasgow; A Sketch of the Universe: Art, Science and the Influence of D’Arcy Thompson, Edinburgh City Art Centre, Edinburgh.

Selected Drawings, ’91–’19 is published by 5b. 5b is a Berlin based publishing, working with artists and writers to make books and editions that champion the sequenced image, the personal and the unusual.

Pre-order your copy here -

This event was selected from the Lunchtime gallery open call this year.


Long Time Listener, First Time Caller
Patrick McAlindon

Friday 6th December
6 - 9 pm

7.12.19 - 11.02.20
Open Tues - Sat 11 - 6pm

Long Time Listener, First Time Caller is an exhibition of new oil paintings by Patrick McAlindon.

Patrick McAlindon lives and works in Glasgow. He graduated from BA (Hons) Painting and Printmaking in 2019 with an exchange semester at the Academy of Fine Arts Vienna. He is currently working on a publishing project looking at homes in Scotland with collaborators Dr Charlie Lynch and David Sillars.

Recent exhibitions include, ‘Little Bouket’ with Paul McKee and Daniel Pettitt, 49 West Princes Street; ‘Bring your own flowers’, The Glasgow Guild; and ‘Get lucky sound of the summer’ with Sarah McCormack, Jessie Whiteley, Hamish Chapman and Suds McKenna, 49 West Princes Street (all 2019). The other exhibitions in this series were by Nat Akinyi, Amy di Rollo and Siri Black.

This is the fourth and final exhibition in a series of shows showcasing the work of graduates from BA (Hons) Fine Art at the Glasgow School of Art this year. Other exhibitions in this series by Nat Akinyi, Amy di Rollo and Siri Black.

** ALSO on the evening on Friday 6th December, we'll be having another street party **winter edition** with our St. Andrews Street neighbours!

Photo credit Patrick McAlindon

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Tunnels, Spirals, Lattices, Cobwebs
Siri Black

Opening + Street Party
Thursday 7th November
6 - 9 pm

8.11 - 23.11.19
Open Tues - Sat 11 - 6pm

Siri Black presents new work made in response to her ongoing research into entoptic visual phenomena and the problem of other minds. Entoptic (‘coming from within’) refers to visual experiences derived from the eye or brain, as opposed to an external light source. There is no common shared stimulus, and so the experience remains uniquely private and untranslatable. Nonetheless, throughout history, there have been various accounts and records of these images, as well as attempts to search for shared characteristics and possible categories.

In ‘Tunnels, Spirals, Lattices, Cobwebs’, Black looks to these records to construct a visual language, in which image and image-carrier are of equal importance. The show features casts of wood engravings, drawing from Jan Evangelista Purkinje’s ‘Contributions to the Knowledge of Vision from the Subjective Point of View’ (1818). They sit like documents on shelving units, cyphers of a new language, endlessly imprinting. Part mocking, part hopeful of the possibility of such a thing as a universally shared vision, Black attempts to question the role language and representation might play in truth-building.

Siri Black lives and works in Glasgow and graduated from BA (Hons) Painting and Printmaking in 2019. She was recently selected for the Hospitalfield Graduate Residency (2019). Recent screenings and exhibitions include ‘Too little too late’ with Eleni Wittbrodt at Outlier, Glasgow (2019), ‘Creative Reactions’ in collaboration with PhD Engineering student Isha Maini, St. Enoch Centre, Glasgow (2019), ’Excerpts’, a group screening, CCA, Glasgow (2019), and ‘Roissy, just the two of us’, GY Festival, Glasgow (2018).

This is the third exhibition in a series of four shows showcasing the work of graduates from BA (Hons) Fine Art at the Glasgow School of Art this year.

*   *   *

Text by Siri Black

Someone once compared the act of writing to a specific type of rain that never quite reaches the ground. A virga (derived from the latin for twig or branch) is an observable streak or shaft of precipitation that evaporates before meeting the surface of the earth. The lament is old, and well rehearsed: the written word never quite reaches the lived experience, and robs the latter of its purity.

In 1819, Jan Evangelista Purkyně (1) published a paper describing the visual effects sourced within the eye itself. A snapshot of the retina, reproducing itself. Amongst these are Phosphenes, those tiny shaking fading Rorschachs we see when rubbing our eyes, or standing up too quickly.

’When I close my eyes, they begin to shine […] it all ends with a dark rhombus with blunt corners, surrounded by a dull shine resembling a phosphorescent light. A total darkness follows. […] As soon as I release the pressure on the eyeball, the pattern breaks up in several places and the bright branches flow in curved lines and disappear like dying sparks of a burning paper’

Illustrations accompany the description. I can only imagine the bitterness with which Purkyně, after extensive probing and prodding his own eye socket, looked at the collection of neat shapes, lines and words scattered across the paper. No amount of literary embellishment really gets you there. The patterns invariably dissipate under the weight of language and remain irreducibly private.

Science advocate and staunch empiricist James IV, King of Scotland, undertook just one of the many recorded attempts throughout history to find the origins of, or the origins of the original, human language. In 1493, he ordered two new born babies to be sent to live on the isolated island of Inchkeith to be raised by a mute woman. The language, for surely there must be language, the children would eventually speak was to reveal the innate human language stripped of any external influences.

My first memorable experience of a Phosphene came about as a result of a conker fight to which I was an unwelcome spectator. The eyeball has a curious way of recoiling when in danger; tiny fireworks accompanied by a sound I now exclusively link to the sound an amp makes when the audio jack is forcibly removed.

The first moveable type system for printing texts originated in China more than four centuries before the process was mechanised by Gutenberg. Porcelain blocks carried each individual character and could be rearranged in various permutations on an iron plate.

Afterimages are another example. If photoreceptors in the eye are exposed to the same unmoving stimulus over time, they lose their sensitivity and the image remains visible after the initial exposure.

Machines, too, have this memory. The phosphor in the screen of a monitor eventually looses its luminance, so a non-moving image displayed for a prolonged period will burn itself into the screen, a permanent ghost image.

There is a distinct similarity between the drawings of Phosphenes and the recurring motifs and patterns found in prehistoric art. Evidently, the earliest humans ascribed enough relevance to these fleeting, tessellated patterns to begin the long and arduous journey into representation. ‘We lament the insufficiency of our songs, [but still] we sing’. (2)

(1) Purkyně, Jan Evangelista, ‘Beiträge zur Kenntniss des Sehens in subjectiver Hinsicht’, 1819.

(2)  Lerner, Ben, ‘Poetry Reading’, University of Chicago, (audio), 2012. 

Photo credit Sean Campbell