Fresh talents shine through the screen

This aptly named exhibition showcases work from four of Scotland’s art colleges by 12 recent graduates, including Fanny Arnesen, Hannah Barker, Catherine Eckersall, Josie Jones, Eve McGlynn, Dominika Ucar and George Williams.

Inevitably the work can be seen only online, but because of some thoughtful technological interventions the virtual experience is about as good as it gets.

Online visitors are presented with a panoramic, 3D view of the gallery interior that replicates the actual visual and physical encounter; so, instead of a scroll-through selection of images, it’s possible to zoom in on particular art works and, at the same time, to read basic information on the artworks much the same way as employed by printed labels. There are convenient click-on links to access more detailed information.

There’s no “correct” way to move around and look at any exhibition; most people go where their will and interest take them. It’s the same here, although for those who prefer a more curated experience the software allows for a number of “highlights” which effectively guide you through the work in a more structured way.

The majority of work (following the gallery’s own preferences) is painting but there’s also a selection of small editioned ceramic sculptures by Hannah Lim (He (river) Snuff Bottle), as well as items of sculptural furniture, such as The Forbidden Gates made from MDF, steel and brass. Lim’s heritage is Singaporean-British and the motifs, colours and symbols she employs reflect this mixed cultural inheritance. Appositely and, arguably more interesting and important, is the idea that these works critique and reverse cultural appropriation inherent in western concepts of Orientalism and Chinoiserie. In this sense, Lim’s work can be read as part of a much wider movement that confronts colonial and post-colonial attitudes.

The Tatha’s smaller side gallery is given over to the work of Lauren Ferguson, Emma Boiston, Zuzanna Salamon and Sophie Percival. Percival’s rough, textured, colourful raku plates are earthy and appealing, and her abstracted hand-painted lithographs are accomplished beyond her years. Salamon, originally from Katowice, Poland, creates fragile, poetic memoirs presented as large-scale charcoal drawings with titles such as I Try to Grow New Roots in the Land I Call Foreign.

All the artists deserve the accolade of inclusion here and despite the inevitable barriers preventing a full experience, their talents shine through.

Until April 3.