Glasgow Print Studio‘s programme of exhibitions, events and education continues for 2026:
In her exhibition Form & Oxidation, artist Lesley Logue explores the transformative and destructive qualities of steel by cutting and shaping it by hand and accelerating its oxidation using moisture, salts and acids. The resulting corroded sculptural forms are reimagined through screenprint and etching, with steel acting as both subject and surface, and, through shadow and print, the work plays with distortion, materiality and the boundaries of printmaking.
Trained as a painter and printmaker, Lesley works across sculpture, photography and moving image, exhibiting nationally and internationally: the work reflects her interest in working-class histories and her family’s links to Glasgow’s shipbuilding industry, exploring themes of damage, repair and renewal, and drawing on archival research and personal stories.
Meanwhile, the Studio is presenting a selection of works by three established studio members: Kate Downie, Bronwen Sleigh and Fiona Watson.
Kate Downie has spent the past 25 years exploring an artistic vision exploring the extremes of Scottish urban/industrial landscapes and the country’s coastal ‘edge-scapes’, and has made studios of places such as a brewery, a maternity hospital, an oil rig and an island underneath the Forth Bridge. Her ongoing relationship with the Forth bridges was epitomised in 2014 when she was selected as official artist in residence for the Forth Road Bridge for its 50th Anniversary.
Fiona Watson”s diverse body of work includes etching, digital imaging, screenprinting, photography, collage, land art and painting, and her work is characterised by a whimsical, yet sometimes cynical, playfulness, inspired by Eastern mysticism and symbolism, and the patterns, rhythms, forms and colours of nature.
Bronwen Sleigh takes inspiration from industrial architecture, unused and forgotten urban spaces, and environments at the edges of the city, her work provoking an extended and considered dialogue with these spaces, which she transforms through her practice into an exploration, rather than a description, presenting the built environment in unfamiliar perspectives.
Finishing 2nd May, Consuelo Servan‘s exhibition Being Azul collects a series of unique screenprints and mono screenprints by the Glasgow-based artist exploring sensation, memory and the rhythms of summer, drawing on personal recollections of southern Europe and its small rituals shaping summer days, such as breakfasts in the shade, early-morning walks, siestas, afternoons by the pool beneath blue skies: prickly-pear cactuses appear as a recurring motif.
The Studios’ programme of Adult Printmaking Courses (throughout 2026) is packed full of opportunities to learn from experienced artists, who lead classes and workshops in a broad range of techniques, in a professional printmaking setting.
Shenece Oretha & Camara Taylor‘s Some Rhythms Persist will end 30th May, showcasing innovative approaches to making and experiencing sculpture, sound and printmaking.
The petition regarding the tenants’ dispute with Glasgow City Council over the Studios’ home at the cultural hub of Trongate 103 has now garnered more than 26,000 signatures.
