Shed Summer Residencies

Martha Orbach

Residency Period August - September 2018

Throughout her residency Martha will be working in a mixture of drawing, animation and printmaking.

She's currently working on White Out a new story project charting one man's voyage through treatment for Parkinson's disease with Deep Brain Stimulation.

Recent commission The Garden is a collaborative printmaking project about plants, gardens and rebuilding life after torture. Previously this skin we're in was shown at festivals incl. Melbourne International Animation Festival, the Bethlem Gallery, and given a fringe award at London's Contemporary Arts Festival, Deptford X 2014 
She studied at the University of East Anglia, London College of Communication and Camberwell College of Art. She completed book project – We go to Sea with You January 2012 and was awarded the 'word and image' prize at the V&A Inspired By… and had her work exhibited at the V&A in summer 2011. 
Collaborations and commissions include Manu Delago, Cevanne, Dike Okoh on artwork, visuals at the Yard Theatre, Norwich Arts Centre, Camden Fringe, alongside King's College London, and Deptford X
She runs workshops, including for TATE, The Studio: Bethlem Royal Hospital, Culpeper Community Garden and Rethink Mental Illness.
James Winnett

Residency Period June – September 2018

James Winnett is an artist working primarily in public art, sculpture and film. He has exhibited widely and developed a range of public art projects across the UK. Recent commissions, exhibitions and awards include Lace Un-archived, Nottingham Trent University; The Capelrig Stones, East Renfrewshire Council, 2017; The Cuningar Stones, South Lanarkshire, 2014-17; Green Year Artist in Residence, Glasgow City Council, 2015-16; 100 Flowers Public Art Commission, Queens Elizabeth University Hospital; Year of Natural Scotland Artist in Residence, Cuningar Loop, Rutherglen, 2013-14 and The Rise and Fall of the Grey Mare's Tail, Environmental Art Festival Scotland, 2013.


James Jimbo

Residency Period September 2018

Strictly Come Draw With James Jimbo. There will be drawings.

For each day of his residence, James will be inviting one or more artists to make collaborative drawings. Visitors to the space are also encouraged to draw and collaborate.


Jack Brindley

Residency Period September 2018

Jack is a multi-disciplinary artist who approaches sculpture and installation through the use of wide ranging yet specific materials. His current practice has led to work with stained glass. Symbiotic with its surrounding architecture; stained glass has historically been loaded with utopian and social sensibilities. Modernism, places of worship through to Victorian Romanticism, he is interested in how this material is synonymous with complex and diverse societal and spiritual demands. Tangled between functionality and Romantic ideas, Jack will be exploring the utility of art as it gets woven into architecture and becomes equal to the social uses that occur along side it.

Jack Brindley (b.1987, London, UK) studied BA in Fine Art at The University of Reading and MA Painting at the Royal College of Art, London in 2013. Solo exhibitions include; STONES, , Art Lacuna, London (2018) Sweat, Pippy Houldsworth Gallery, London, (2014) Clay Arlington – Aspirations to be Reborn in a Western Paradise, Lychee One, London, UK 2015: Clay Arlington – Understudy, Union Gallery, London, UK
2015 and Blueprint, CSA Space, Vancouver, Canada, (2013). Group shows include; Some People are Worth Melting For, Ginny Projects, Wales, UK
 2018: If a Tree Fell... Its Kind of Hard to Explain, is this it, London, UK
 2018With Institutions Like These, The Averard Hotel, London, UK
 2018Tan Lines, Drawing Room, London, (2014), The 8 Artistic Principles, Attic, Nottingham, (2014), Mud and Water, Rokeby Gallery, London, (2014), Slow is Smooth is Fast, Boetzelaer Nispen, Amsterdam, Netherlands (2013), Intercourse 3, ICA, London (2013) and Congratulations you are the most recent visitor, Kettles Yard, Cambridge, (2013). And also in 2013 he was commissioned by Situations to produce a large public commission.


Lana Hughes & Ruby Pluhar

Residency Period September 2018

Artists Ruby and Lana will be working on their joint project, Sirens, throughout their residency. They aim to explore the space between imagined realms and reality. 
Lana is interested in the blurring of fact and fiction. Her work focuses on race and gender, as well as popular and internet culture. She is working on a video project which centres on four characters, created by reimagining three celebrities and a contemporary artist.    
Ruby is interested in the relationship between humans and non-humans. She has begun a number of installation works which reconfigure ritual time and mythical telling and sees her work acting as a mediator between worlds.    
Both artists will combine their practices to explore a broad range of ideas, and will be working with photography, video, sound and installation.


Nathann John Cook

Residency Period August - September 2018

Nathan creates one-off performances often evoking slapstick awkwardness and tragic control. During his performances he sets the stage for an analysis of the human condition, success and failure and the mundane life.
Nathan John Cook (b. 1993) lives and works in Glasgow.

Glasgow International 2018

20 April - 07 May 2018

Five projects are presented across the site at House for an Art Lover during Glasgow International 2018 featuring new work by Tine Bek & Paul Deslandes, Scott Caruth, Winnie Herbstein, Rosie O'Grady, Alex Sarkisian and Bahar Yürükoglu.

The Studio Pavilion gallery presents As we fall we walk, a joint research-based project by Tine Bek and Paul Deslandes focusing on the concept of mobility and movement by exploring ideals of perfection and disconnection between body and mind. By combining references to the trivial and the unequivocal, As we fall we walk interrogates perceived prevalent presuppositions on our ability to move in a friction-less structure.

Cazzate su Cazzate (Bullshit on Bullshit) is a solo exhibition and publication by Scott Caruth presented in the Project Space. It takes doodles and defacements made to official documents within the archive of the Italian Communist Party (PCI) in Modena, Northern Italy as it’s central focus. Found across manifestos, phone bills, meeting minutes, and other official party documents, the marks signify the presence of bored and/or preoccupied party members.

In the Workshop space Winnie Herbstein presents Studwork that uses video and installation to traverse the masculine territory of the building site. Situating itself within real-life encounters, agitprop feminist rehashing and online tutorials, these short skits demonstrate moments of exclusion as well as depict a community in Glasgow that has gathered around the learning of a trade, in particular highlighting the women’s welding collective Slaghammers and the Women in Construction course at City of Glasgow College.

Rosie O’Grady’s project May Day is presented both in the House and the Heritage Centre at House for an Art Lover. The project attempts to agitate how artist Margaret Macdonald is represented. In 2016, French educators Marie-Noëlle Lanuit and Jean-Claude Piquard created a giant clitoris-shaped crop circle to protest the marginalisation of female sexual pleasure. As Glasgow marks 150 years since the birth of Macdonald’s collaborator and husband, architect Charles Rennie Mackintosh, this project remodels Macdonald’s gesso panel ‘The May Queen’ as a crop circle. Drawing upon a shift in the social and political history of May Day, it explores how crop circles might depart from associations with the paranormal and hoaxes to become a mode of protest and distress signal.

Alex Sarkisian and Bahar Yürükoglu present a new film work in The Bothy in the walled garden. The film explores the artists’ collaborative relationship that began after they met whilst on residency in Svalbard, in the Arctic Circle, and continued until they met again exactly two years later in the inverse climate of Guna Yala, Panama. Whilst in isolation in these remote sites a platform emerged for the artists to turn the camera on themselves and reveal their concerns around their own self-positioning in these particular environments. Conceived as a film installation for GI, the work builds on narratives of the Anthropocene commenting on globalization, cultural displacement and addressing tourist colonialism. At the same time the artists examine their own personal positions within this intimate collaboration and their own inherited family histories and whilst exploring timely political issues do so with an uncanny humour.

Open daily throughout the festival, 10am - 5pm


Supported by Glasgow International. Special thanks to The Lighthouse & Glasgow Sculpture Studios (Tine Bek & Paul Deslandes). Supported by Stills Gallery (Edinburgh), Fondazione Fotografia (Modena), Hope Scott Trust Award, Denise Bonnetti and Roos Dijkhuizen (Scott Caruth). Supported by Glasgow International, Axisweb, City of Glasgow College, Hope Scott Trust, Glasgow Sculpture Studios, Victoria Mitchell and the Slaghammers (Winnie Herbstein). Supported by Glasgow International (Open Glasgow Bursary Award), The James Hutton Institute and The Lighthouse (Rosie O’Grady).