I attempt . . .

Audrey Yeo

I grew up in Singapore. I heard stories from my father about when he was a child and how it used to be in the ‘kampungs’ – Malay for traditional villages. He would go out with a net to hunt for frogs early mornings before dawn and scurry down drains to catch tadpoles and small fishes. Amidst many other kampung stories that feels like a whole other world to me. The experience of the same land has shifted drastically within a short span of one generation. Singapore, a place that can be seen as a notable example of rapid urbanisation whilst attempting to ensure urban greening proliferates the city. Despite being known as a ‘Green City’, I often catch myself questioning the artificiality of the arrangements of these ecological entities surrounding me – how many of these are native to the land, is the diversity human-imposed? It became apparent that a question as such, was the beginning of conceptually blurring the lines between urban greening and ecological landscapes and what they meant to me.

“the knowing self is partial in all its guises, never finished, and can thus only develop in combination with others”[1] 

The main body of my work serves as an avenue to continuously put into question my human-centred perspective of the world around me. In part, it can be seen as an almost futile attempt to detach my perspective from itself – or perhaps the only thing that will be accomplished is quite the opposite. On further contemplation, what we come to commonly deem as ‘Natural’ and ‘Unnatural’, it seemed to me as a classical example of human nature to categorize the experiences around us in order to make sense of the world. Can we step out from the primacy of human agency? Is the over reliance on our consciousness the root of the inside-outside manifestation as Butler captured in her writing of heterosexist gender performances[2]? Understanding and awareness of the inside-outside manifestation changes the way we relate to living organisms around us. Another word that captures this is dualism. Imagine, the dualism between man and nature. As Bateson suggested, the mental processes we engage in reinforces the dualistic mind-body assumption that what happens in the natural world is mechanical[3]. By this, the division causes a divide, instead of being influenced and co-influencing by process and organisation of entities.

During a field trip to Forsinard, in the Highland area of Scotland, I stood between the fences which formed the boundary between a section of untouched peatland and a section of pine trees that was introduced onto the landscape by man. The breeze was picking up. I closed my eyes. It was distinct – I could hear the manifestation of fences in the landscape.

Detached in Tent Gallery, November 2017

Close ups of Detached, November 2017

I interpreted the fences in the landscape as an analogy to the inside-outside manifestation of how we categorize and order the world around us. Through DETACHED, the process of physical line drawings of the map-perceived boundaries within the landscapes of Caithness and Sutherland, I was further imposing on the alienation that was derived from categorizing ‘nature’ as an entity which exists outside of my body. The use of the gallery wall as canvas was an attempt to undo the single momentary impression of the impermanent and ever-changing landscape that I had taken.

I wanted to find comfort in the process of returning the wall space to its original condition as a metaphor for (re-)entering into another state of mind. Perhaps one day, we are able to embrace a state of being that does not drive the inside-outside manifestation. In contrast, do other living organisms struggle in finding this balance or engage in the inside-outside manifestation? How can we begin to comprehend the reality of other organisms? Questions that led to the wanting of understanding ideas and reality from a different perspective.

I attempt to investigate . . .

My starting point was through interactions with those coming from different disciplines, specifically the sciences. Crossing disciplinary proves to be stimulating and engaging, leading to more questions than answers. With the reliance on our cognitive abilities – is it the case that the majority of us humans are trapped within a frame of mind that has been shaped and we shape, (perhaps irreversibly) by a perspective that is enabled only via western science? Coming from a family with ancestry line from China, paired with rapid westernization in our social culture, I grew up with shadows of eastern beliefs and practices. Such as, the teachings of Confucius and herbal remedies for illnesses from the practice of Traditional Chinese Medicine. It feels like a difficult reconciliation which creates tension. Drawing upon this tension as an analogy for the narrow perspective we hold of comprehending ecology and other living organisms around us, it gave rise to the starting point for my next piece of work.

“There was a time where I teetered precariously with an awkward foot in each of the two worlds – the scientific and the indigenous. But then I learned to fly. Or at least I try. It was the bees that showed me how to move between different flowers – to drink the nectar and gather pollen from both. It is this dance of cross-pollination that can produce a new species of knowledge, a new way of being in the world.”[4]



“Taxonomy, i.e. the classification of the natural world whilst a useful tool, is a system of order imposed by man and not an objective reflection of nature. Its categories are actively applied and contain the assumptions, values and associations of human society”[5]

Through the process of creating A BOTANICAL GLIMPSE, I partake in the beginning phase of a knowledge creation process in a systemically and scientifically acknowledgeable way – by ensuring the process and methods I engaged in is sound. Fully aware that I have no formal training in such scientific processes reflects in itself a process to re-iterate our ways of curating knowledge; is in itself based solely from an anthropocentric belief system. In this method, I placed myself in the role as a creator of knowledge, as an attempt to grasp knowledge and the way we come to perceive it in this world. The isolation of each species found within the field sample area draws attention to and serves as an analogy of how within knowledge creation today, we place significant emphasis in looking at things in parts; broken down till the molecular level – in an attempt to understand and sense-make of the world around us.


The piece attempts to reconcile and put to question the outcome of such an approach i.e. western scientific methods and the role of cultural institutions, in our perception and relationship to the world around us. Through the use of a theatrical setting of a botanical collection whereby viewers enter into, it lends itself to the embodiment of authenticity as a way to validate the models of knowledge we have come to rely upon – familiar yet circumscribed.

The use of resin casts to present a part of the collected plants in an immortalized, encapsulated form echoes the further limitations of just relying on the present-day sense-making systems that drive society – emphasizing the routine of separating ourselves when observing what is around us.


Video still  from A BOTANICAL GLIMPSE, May 2019

Close-up of wall painting in A BOTANICAL GLIMPSE, May 2019]

The sampled area was determined via a process of walking through an urban and bordering ecological landscape with botanist, Dr Heather McHaffie. The choice of area intended to draw attention to our entwined and co-existence with often overlooked ecological entities. The biodiversity found within the small sampled area of 0.07m2 further highlights this.

I attempt to deconstruct . . .

REVERSAL, Photography, May 2019

In REVERSAL, the series of photos presented a deliberate moment of constructed vulnerability and objectification of the human body in ecological spaces. In Western tradition, the tendency to recognize human beings at the top of the hierarchy of beings[6] is perhaps the seed of the capitalistic approach we take towards living. What would happen if we were able to experience the animacy of the world and give equivalence to all ecological entities? How have we drifted away from the animacy of the world? 

“The language is the heart of the culture; it holds our thoughts, our way of seeing the world” [7]

One of the indigenous languages of the Americas, Potawatomi, an Anishinaabe language, is a predominantly verb-based language and holds most as animate beings – rocks, bays, apples, trees and the list goes on.  Items that are man-made are inanimate, for example, a chair[8]. In every sentence then, it allows us to incorporate respect to the animacy of the world and reminds us of our kinship with the animate world around us. Imagine, relating to the world in this light instead of separating anything non-human, as an it.

The photos were shot in Scotland between the months of January and April. By subjecting the bodies to nakedness, the work invokes a sense of vulnerability. The use of photography further lends itself to the sense of objectification – as we have come to do with non-human entities – reducing them to their usefulness for our needs. In the first instance, the instrumentalism aspect of the work is elusive. Instead, the photos come across as primitive, rebirthing, clean and natural. On closer inspection, each photo presented contains an interpretation of interruption – alluding to the lack of embeddedness of us to life.

I attempt to reconstruct . . .


Set up of UNKNOW, April 2019

In collaboration with artist Cody Lukas I presented a virtual reality (VR) piece titled UNKNOW. The choice of medium enabled a sense of transposing into another world. In this way, the piece attempted to reconstruct the boundaries of perspective and put into question worlds and the sense of otherness.  The distinction we place on humans and non-humans reinforces the failure to understand our embeddedness and dependency on nature[9]. The use of VR as the medium to convey the blurring of boundaries, alludes to the possibility of reconciliation between indigenous and scientific knowledge for our understanding of a new way of being in the world.

 VR video of UNKNOW in collaboration with Cody Lukas viewable here: 


The piece intended to confront viewers with feelings of discomfort and helplessness as an acute scenario of vulnerability and complete surrender of one ecological entity – that of the same species as the viewer i.e. human, to another i.e. Pinus sylvestris, played out. The dependency of this ecological entity to that of other(s) reflected how I tried to reconcile the human/nature dualism. The process of suspending an ecological entity allowed me to place my trust in the mind-like aspect of nature – that she would hold onto the subject’s life knowing that he is depending on her.

In the end, my attempts do not answer, instead, pose more questions about what it means to be a living organism. Perhaps the only certainty I can hold for myself is there is a gap between how the world appears to us and the world as such. Through my practice, I attempt to experience this gap.


[1] Haraway, D.J. (2000). Situated knowledges.

[2] Butler, J. (2014). Bodies that matter on the discursive limits of ‘sex’. New York: Routledge.

[3] Bateson, M.C. (2008). Angels Fear Revisited: Gregory Bateson’s Cybernetic Theory of Mind Applied to Religion-Science Debates. In J. Hoffmeyer, ed. A Legacy for Living Systems: Gregory Bateson as Precursor to Biosemiotics. Biosemiotics. Dordrecht: Springer Netherlands, pp. 15–25.

[4] Robin Wall Kimmerer in Braiding Sweetgrass Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants, p47

[5] Dion, M. et al. (2005). Mark Dion: Microcosmographia. South London Gallery.

Dion, M. (2018). Theatre of the natural world. London: Whitechapel Art Gallery.

[6,8] Kimmerer, R.W. (2013). Braiding sweetgrass: indigenous wisdom, scientific knowledge and the teachings of plants. First edition.. Minneapolis, Minnesota: Milkweed Editions.

[7] Great grandmother quoted by Robin Kimmerer in Braiding Sweetgrass Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants, p50

[9] Plumwood, V. (2009). Nature in the Active Voice. Australian Humanities Review, (46).

ASN Degree Shows

Our five graduating students, have just held their degree shows in the ASN studio, to great acclaim. The space was beautifully curated to present a range of works in a cohesive exhibition.

Each of the students present their work as a culmination of research and practice that has developed over their two years on the Programme.

Each student has outlined that journey in a reflective practice paper. We will present these as the next five postings on this Blog.



AGE OF ______________

Cody Lukas

THE AGE OF ____________ constitutes Cody Lukas’, research into the dynamics between various forms of living systems and processes across the geo-, bio- and technosphere.

Comprised of 3 series’ of inquiry, A ROSE BY ANY OTHER NAME…, OTHER, and IN THREE BODIES, Lukas’ work across the study focuses on the practice of remediation, as it is to be understood in the context of new media, rather than environmental restoration, along with its impact on dissolving perceived barriers between living systems.

The following text will break down each of the groups of work, respectively in relation to Lukas’ methodological approach to artwork design, conceptual relation to the represented subject matter, and underlying theoretical framework.

WEBSTER, Vinyl Installation. As installed at the TRADING ZONE exhibition at Talbot Rice Gallery.



As an interdisciplinary artist, I don’t contain my practice to any one given medium or technique, but rather approach each new project as a means of problem solving; applying the most suitable methodology for the given context. In so doing, I seek to push myself into new fields of knowledge, as to constantly broaden my own perception of the world.

At a glance this means the individual pieces that comprise my expanding body of work, often appear; Fragmented. Detached. Isolated from one another.

However, with my background being in immersive and interactive technologies, as well as environmental practice, my works can actually be mapped with regards to their individual relation to media, as living process, and technology, as craft, technique and equipment.

See, media is traditionally defined as a method of interpreting and conveying various forms of information, which is conventionally expressed through speech, text, photography, radio, video, etc. In the words of Bolter and Grusin, remediation is “the representation of one medium in another”[i] serving as the defining characteristic of the new media, i.e. video being the remediation of photography. They continue in saying, “[c]reators of other electronic remediations seem to want to emphasize the difference rather than erase it. In these cases, the electronic version is offered as an improvement, although the new is still justified in terms of the old and seeks to remain faithful to the older medium’s character.”[ii]

In relation to my practice, I do not look to conventional forms of media as a point of departure for a work, but rather to living systems and processes as “old media” and remediate them through modern technology.

This approach to creation is no more present than in A ROSE BY ANY OTHER NAME… In this series I investigate the full spectrum of life, as it ranges from geological processes, to those of synthetic biology and artificial intelligence, with each instance applying its own technique as it is most relevant to the original process.

HOST, Oil on canvas.

HOST converts digital code from computer viruses into DNA sequences, which are then plugged into my own generative software, in order to give them physical forms. These are then stored inside various oil painting within Augmented Reality.

Here, the process of the work’s creation is pivotal to its conceptual value, as today biological viruses are highly debated as to their classification as living organisms, due mainly to the fact that they do not have their own cell bodies; but rather they leach of other organisms in order to carry out all the other characteristics and functions associated with living organisms.

PROCESSING, Digital prints.

PROCESSING acts as a rudimentary artificially intelligent computer software, capable of generating an endless amount of caudal fin nerve networks; a digital remediation of the zebrafish’s natural regenerative abilities. This piece’s significance stems from the segment of NASA’s definition of life being, “a self-sustaining chemical system”; where the work remediates one of the processes that makes the zebrafish the self-sustaining chemical system that it is, and ascribes it to a mechanical system, currently defined as a biosignature, merely trace evidence that life once existed.


CELL PORTRAIT and NEWBORN then flip to dynamics between media and technology, taking a very physical approach to remediation praxis. In CELL PORTRAIT, the complexities of synthetic biology and the ability to grow human skin cultures in a lab, apart from their parent body, is met with not only a remediation of the organic biological process of skin growth but also the aesthetic form and language of minimalist painting.

NEWBORN, Wall Sculpture. As installed at the TRADING ZONE exhibition at Talbot Rice Gallery.

Then, contextually residing on the polar opposite end of the spectrum of living processes, NEWBORN looks to the thousands of years old geological processes of rock creation as “old media”. Appreciating the fact that an igneous rock’s age is linked to the last time it underwent an igneous process, the work then regards traditional casting technique as the method of remediation, by effectively baking the geological samples at temperatures of over 1000 degrees, giving birth to new manmade rocks in the span or just 20 minutes time.

Again, although diverse in their physical expressions, each work within the series adopts the same methodology in their creation, correlating to media, as living process, and technology, as craft, technique and equipment; effectively paralleling a wide variety of geological, biological and technological living processes as to blur the borders between systems and present a rose as nothing but a name that divides.



Acknowledging the current state of the geo-political climate we live in today, at the turn of the Human Goldilocks Era, through my work, I aim to instill my audience with a form of critical thinking process, where I want them to challenge their own anthropocentric perceptions of presented subject matters and get them to step back and view things objectively, for what they are.

In so doing, this is a process I myself undergo in my own practice, when interpreting and designing new work. Going into a project, I am self-aware as to my own subjective relationship with the given subject matter and actively try to view it through various lenses, exploring the discrepancies that arise as a result; in this manner, paralleling both the physical and conceptual methodologies of my artistic praxis.

That being said, juxtaposing my rhizomatic approach to art making; thematically, my practice is underlined by its correlation to the ideas of other, otherness and othering, as determining agents of most actions carried out on a daily basis. “The Other, being defined as being dissimilar to and the opposite of The Self, of Us, and of the Same […] Otherness as the characteristics of The Other, the state of being different from and alien to the social identity of a person and to the identity of The Self […] and Othering, the reductive action of labeling a person as someone who belongs to a subordinate social category defined as The Other.”[iii]

Homing in, when investigating dynamics between various forms of living systems and processes, I inherently operate within the narrative of perceptions of, and dynamics between, various manifestations of Other, and the systemic categorization of life as Us and Them. This paradigm is fully explored in OTHER; a self-proclaimed self-reflective series investigating expressions of Otherness from my own lived experience, as they relate to larger social constructs.

Amongst this body, three dynamics are explored.

A SIMPLE ACT OF MASOCHISM, Electrically charger aluminium Installation.

Drawing the line between Us, as mankind, and Them, as all other organisms within the life-web, A SIMPLE ACT OF MASOCHISM challenges man’s perceived dominance as “the intellectual alpha”, highlighting the presence of masochistic action within the human condition. Drawing from my own relation to the subject matter and viewing my passion of rowing through a critical lens, the counter intuitive nature of the sport as a self-harmful action becomes apparent. Rather than depict the ailments that arise as a result of this action, the process of self-harm through rowing is remediated in the gallery; where audiences are presented with the choice of electrocuting themselves in the space through interaction with metal casts of my own two rowing blades.


L’HOMME QUI MARCHE, Bronze Sculpture.

DESIGNING GAY BABIES and L’HOMME QUI MARCHE are two works that operate in opposition to one another, with regards to their relation to myself. Two categories of Other amongst humans, one in which I find myself in the perceived majority, not as a male but CIS gendered male (meaning I identify with the gender I was ascribed at birth), and the other in the perceived minority, as a homosexual male. In this way, I approach the creation process, acknowledging my inescapable subjective relationship with the subject matter but then attempting to portray it from a place of objectivity, manifesting itself in two distinctly varied finished works.


Then, akin to Jacques Lacan’s portrayal of the Other as “but a projection or effect of the EGO, the prototype being the specular image with which the subject identifies in the alienation of the MIRROR-STAGE”[iv], the digital animation OTHER, A SELF-PORTRAIT acts as a manifestation of the uncanny. Constructed from images of myself, the form emerges simultaneously embodying fragments of both The Self and The Other; this resulting in a piece that speaks to the dualistic character of the entire series.

Collectively the series plays with the ever-shifting nature of the border between Us and Them, as it changes in response to varying contexts, as well as one’s own subjective understanding of self; prodding audiences to critically reflect on their own process of Othering and the subconscious actions they carry out as a result.

In times of urgency or struggle, there is a tendency to protect the Us;

but where does one draw their own line in the sand.



As an artist operating within an ecological context, my work, especially as it pertains to the remediation of living processes and the exploration of shifting borders between manifestations of Other, inherently engages with the dialogue of human interactions with the inhabited world.

Therefore, in trying to align my practice within a given theoretical framework, I recognise two dominant portrayals of this relationship, as they are depicted in mainstream society.

The first conducive to Jean-Paul Sartre’s depiction of “the relationship with The Other [as] always conflict-ridden and antagonistic as it is based upon a dialect in which the only possibilities are being dominated or being dominant”[v], meaning any perceived interventions by man into his inhabited environment are inherently negative and dominant by nature.

The second scenario, lobbying for a reintegration of man with the spectacle of the natural world, in which there is no perception of Otherness between the two at all; commonly being utilized in attempts to mobilize individuals to save, protect or restore nature, through the promise of mutual survival.

Fundamentally, my issue with these romanticized narratives of nature as the inherently good and balanced paradise from which we stem, effectively deifying the natural world, is their origin in anthropocentric understandings of the earth as homeostatic, in opposition to how we view all other known life as evolving process.

In this way I find myself in agreement with Koert van Mensvoort’s Next Nature framework and his biocentric conclusion of the natural world as a dynamic entity, acknowledging the geo-, bio- and technosphere; the technosphere being both mankind’s creation and successor as evolution goes on, and nature being comprised of all 3 living systems, co-evolving together.[vi]

Now, as products of synergetic relationships between geo-, bio-, and technological systems, each of the works comprising the series IN THREE BODIES exemplifies the variations that arise between different categorizations of interactions between humans and their inhabited world, with respect to human interpretations of intention and impact, akin to the views of anthropocentrism and biocentrism.

VEGAN FRIENDLY, Dried Kombucha Installation.

As a physical body created from a symbiotic relationship between cultures of bacteria and yeast, VEGAN FRIENDLY is a large scale Kombucha SCOBY, strung up and left to dehydrate within the walls of the gallery. Although a harmful process for the living colony of organisms, when viewed anthropocentrically, the grown material is branded as ethically farmed vegan leather, ignorant to other forms of living entities operating outside of humans’ immediate perception, due to disconnects in scale, both temporal and spatial alike.

1 ROCK, 3 FORMS, 23 carat gold and Dolerite rock Jewellery. Photography by Audrey Yeo.

UNKNOW, Augmented/Virtual Reality Installation. Created in collaboration with Audrey Yeo.

Then speaking to Sartre’s dynamic of dominate or be dominated, both 1 ROCK, 3 FORMS and UNKNOW address the matter, in dichotomous outputs. The former, exploring the impact of interdisciplinarity, amidst the current age of entanglement, on acquiring various degrees of control over man’s surroundings. The latter, a digital performance where the roles are perceived to be reversed, as man is placed into a state of submission with relation to his surrounding environment.

At first glance, the two appear as clear portrayals of dominance between the depicted subject matters. However, this becomes less so as one steps back and examines the impact and intent of the acting parties; as submission does not actually equate to the act of “being dominated” without an agent dominating party and the process of crushing rocks, ultimately cannot be judged with regards to its impact upon the geosphere, without any non-anthropocentric understanding of a “normal” state for the system.

ROCK RING, Augmented Reality Sculpture

Finally, UNKNOW and ROCK RING act in contrast to VEGAN FRIENDLY and 1 ROCK, 3 FORMS in their zero physical intervention approach to art making, through the use of energy intensive digital media. Here, digital landscapes are developed, with ROCK RING acting as a geological structure in its own right, as the creation of a computer generative software, repurposed to deconstruct and re-configure, existing geological structures within the technosphere for the sole exploration and enjoyment of humans.

Ultimately, each of these works, comprising the series, is underpinned by its process of creation, where individual interpretations of the portrayed dynamics between humans and their inhabited environment, vary in relation to contrasting ethical points of view.

To me, I find it fundamentally problematic when individuals either idolize and romanticize the natural world or claim the full dissolution of boundaries between humans and our surroundings, in order to promote a healthy relationship between the two. We should be able to view our surroundings as Other, without the need to dominate or be dominated, acknowledging the geosphere in the context of another form of living system, equal to the Bio- and Technosphere, with which we find ourselves in the form of a coevolutionary or even ectosymbiotic relationship.

After all, akin to the ideologies of Adam Smith, the wealth of nations is based upon respect for the other.[vii]



Graduating from the Art, Space and Nature MFA program at the University of Edinburgh, Cody Lukas is an interdisciplinary artist whose work studies the dynamics between various forms of living systems and processes in the world today; at the turn of the Human Goldilocks Era. Working amongst an ecology of institutions such as ASCUS Art and Science Labs, The Queen’s Medical Research Institute and The Grant Institute, Lukas’ artistic practice remediating living processes within the geo-, bio-, and technosphere, spans a wide variety of fields, ranging from synthetic biology to geological sciences to artificial intelligence.

Most recently Cody’s work has been exhibited at The Royal Scottish Academy, Talbot Rice Gallery, The Lighthouse: Scotland’s Center for Architecture and Design, and An Lanntair contemporary art gallery.



[i] Bolter, J. and Grusin. (2003). Remediation. Cambridge, Mass: MIT Press, p.45.

[ii] Bolter, J. and Grusin. (2003). Remediation. Cambridge, Mass: MIT Press, p.45.

[iii] Wikipedia. (2019). Other (philosophy). [online] Available at: https://en.wikipedia.org /wiki/Other_(philosophy)#cite_note-5 [Accessed 22 May 2019].

[iv] Macey, D. (2001). Other. In: Dictionary of Critical Theory. London: Penguin Reference Books, p.286.

[v] Macey, D. (2001). Other. In: Dictionary of Critical Theory. London: Penguin Reference Books, p.285.

[vi] Next Nature – The Nature Caused by People: Koert van Mensvoort at TEDxDanubia 2013. (2013). Danubia: TEDx Talks.

[vii] Smith, A. (1791). An inquiry into the nature and causes of the wealth of nations. London: Printed for A. Strahan and T.Cadell

Two ASN students win commission for collaborative, sited work for POLDRA, Viseu in Portugal

At ASN we encourage and support our students to engage with external opportunities and to work collaboratively.

Two of our students, Kaitlin Ferguson and Natalia Bezerra have won an international call-out to develop a work for POLDRA, a public sculpture project in Fontela Wood at Viseu, Portugal. – https://poldra.com/en/inicio/

LITHOS will be a site-responsive sculpture which will connect people with place. The piece will use natural materials of reclaimed slates, transforming them to create a sculpture which will draw out new playful interpretations of the landscape.

The work will comprise of fifty-four slates which will form an interactive lithophone.


A floating line in the forest, running alongside a pathway that will invite the viewer to travel along it and enjoy a new addition to this special park. Direct engagement with the piece will provide a multi-sensory experience for users while releasing sounds of the earth deep into the forest and revealing unexpected qualities of geology. The collaborative melody generated by humans and the forest will increase a sense of harmony and wellbeing for visitors at Fontelo Wood.

We will publish images when the work is installed in October.


As a counterpoint to the frenetic activity of the ASN students preparing their end of year exhibitions, we undertook a visit to ‘LITTLE SPARTA’.


‘LITTLE SPARTA’ is an Arcadian garden at Dunsyre in the Pentland Hills, near Edinburgh, created by the artist and poet Ian Hamilton Finlay (1925 – 2006) and his wife Sue Finlay. It is considered by many to be the most significant artwork in Scotland.


Incorporated into the garden are over 275 artworks created by the artist including concrete poetry in sculptural form – Finlay described himself as an ‘avant-gardener’.

The garden can be viewed here….   https://www.youtube.com/watch?v=Jee-4F0Xwxg

Two ASN students selected for Trading Zones Exhibition

Trading Zones is the second in a series of exhibitions at the Talbot Rice Gallery which is curated from artists, researchers and students from across the University of Edinburgh.

This year the stunning exhibition, which was curated by James Clegg and Stuart Fallon, features thirteen artists, two of whom are from ASN.


Luis B. Guzmán and Cody Lukas both had to negotiate large scale installations at the Talbot Rice at the same time as they mounted their Degree shows, which was a challenge they met successfully – the Degree shows will feature in future posts.


Trading Zones continues until June 22nd.

Further information and a downloadable catalogue are available here…