'Solid Observations' by recent graduates from Fine Art and Design, Anna Winberg & Olivia Juett, explored their practice in relation to each other. Viewers were invited to explore objects through touch and make observations from solid forms they can connect to. The gallery exists as a space to consider and make sense of memory, reflection and immersive storytelling, which we both explore in our practices.

Pickle Jar with members Masaki Ishikawa and Brandon Hendrick linked the preservation of memory to production. They reference a sense of nostalgia and melancholy, an attempt to attain something which has already passed. Using photography as a leaping off point, these works attempt to preserve memory like a jar preserves pickles.

Through Past and Present by member Lauren Black was a solo exhibition exploring the natural process of hand crafting garments and how this can be manipulated with sound, video and sensors. Clothes carry fascinating stories throughout centuries. Narratives may be lost but can be relived in new forms.

Bound by Lineation Collective featured Luke Shand, Joanne Murray and Lita Murphy with their most recent work which focused on the linear components of the human presence and an exploration of how we occupy space and the residual traces and echoes we leave as we move through it.

The New Sense: Enveloped / Ecstatic and Human Form Study by Max Breakenridge featured two videos exploring the space between digital and physical existence. Made during the 2020 lockdown period, these works express a mesmeric corporeality, where the human body is in a continuous process of formation through the digital image.

Mirror Mirror was a visual exploration and re-examination of popular myth, story and fairytale culture, putting Girls and Women at the front and centre. The works were created in partnership with the Village Storytelling Centre by the young women supported by the charity, Say Women, which offers support for women aged 16 to 25 who are survivors of sexual violence and/or homelessness.

Shadow of the 80’s was a collection of multiple drawn works by Tabitha Hall, exploring the infiltration of songs from the 80’s into her existing works on shadows. This exhibition pulls together multiple works from the past 2 years and forces them to exist within a new context, catalysing a new way of perceiving the drawings. The show invites the viewer to step into the creative process, allowing for a new approach in experiencing the work as both fun and lighthearted.

In The Name Of The Rose is a multi-media exhibition that aims to dissect combined sensory experiences and separate them into individual engagements. By examining them one at a time, our particular sensory experience is heightened, forcing us to focus on one sense at a time. Through the sense-making non-linear editing of our brain, all of these sensuous sensory experiences are sutured together again in a continuous timeline, and different narrations are created.

Emily Weaver aims to explore the mystery behind the sculptures found in the Lepenski Vir. The Lepenski Vir, or "red claywhirlpool" is located on the right bank of the Danube in eastern Serbia. The true purpose of the sculptures is unknown but archaeologists theorise they represent a deity of great importance to the settlement. The sculptures found at the site combine fish and human features resulting in a strange but familiar expression. Weaver visually connects with a culture lost to time through sculpture, tapestries and video art. Her work aims to capture a life cycle; death, rebirth and reflection while also mirroring the process of archeological discovery.

By situating materiality as rooted in bodily experience, SICKNESS IN THE SACRISTY explores the processes of the body that leaks, flows, excretes and throws up. Through focusing on her upbringing within the Catholic Church and a personal connection to mediumship, Megan considers ideas of digestion, food and body fluids in relation to religious rituals and spiritualist seances. Historical information weaves in and out of autobiographical content, allowing stories to exist simultaneously across vast periods of time while examining how an autobiographical voice can challenge hierarchies of knowledge.

Reconfiguration encompassed work from two Glasgow School of Art, BA Sculpture and Environmental Art students Garrett Ure and April Lannigan., and works by Astrid Turner, a recent BA (Hons) Contemporary Art Practice graduate from City of Glasgow College. The title of the exhibition gifted flavour to the kind of work on show, referencing each artists individual contribution, ultimately building on works and processes already in motion over the past several months.

‘I Want To Be This Way Again’ was a solo exhibition of works by Carys Reilly. Carys uses a combination of sculpture and painting to critique gender roles and attitudes towards chronic illness and neurodivergence in women. Her pieces were inspired by the processes involved in woven textiles: she uses fabric, thread, and repetitive imagery in minute scale in paintings and assemblages of found objects. Carys’ work explored how conditions including Endometriosis, Autism and ADHD are gendered, and how her experience of them intersects with societal ideals of womanhood.

This exhibition was a collaboration inspired by and the artists' individual responses to our relationship with the waters of Loch Lomond and in particular the life and times of the paddle steamer Maid of the Loch. Built in 1953 as the last of her line, she carried passengers powered by her steam engines and magnificent paddles around the loch until 1981, providing everlasting memories of holidays, the excitement of movement through water and the romance of travel from times gone by.

SaltSpace hosted a screening of ‘Rebel Dykes’ accompanied by a workshop from the films producer Siobhan Fahey at SaltSpace Community Space. The feature length documentary which tells the story of the Rebel Dykes, is a raucous story of a community of women in 1980s post-punk London who met doing art, music, politics and sex, and how they went on to change their world by becoming artists, performers, musicians and activists.

For international Women's Day 2022, SaltSpace hosted Feminista Film Festival in partnership with Sea Change as they present an inspiring collection of F-rated short docs that celebrated women and the sea across waters in South Korea, Norway, Scotland, Colombia and Canada at SaltSpace Community Space.

With backgrounds in architecture, ceramists Siân Patterson and Janice Affleck took an opportunity to collaborate, experiment, and push their practices together in a project which moves between two and three dimensional drawing using mould making and ceramics.

The show explored history and culture during The Great Famine 1315 - 1322 and The Black Death 1348 - 1351 through drawing, ink, graphite, newsprint, mixed-media collage, printing, sculpture and found objects. With a focus on the national revolt to these crisis' and how the upheaval developed the previously fragmented idea of class consciousness into a more solid and powerful concept.

“a recent memory” was a collaborative exploration of landscape through hands-on making processes, by Glasgow based artists Lily Garget and Sophie Minervini. The works on display included ceramic vessels, traditionally inspired textiles and text-based work, which are influenced aesthetically by the muted tones of the artist’s local surroundings, and conceptually by the narrative of the landscape there.

The opening night with members Dan Banks, Luc Lynch-Rice and Thomas Roulston premiered ‘Local Procedure’ a bmx film featuring multiple riders with SD and super 8 footage focusing on the unseen side of cities and towns across Central and North East Scotland. The film highlighted the unique and interesting spots hidden within locations that you would normally never see unless you were a local.

‘I’m Still Standing!’ was a solo show from Glasgow based neurodivergent artist Cameron McCracken. The exhibition was a retelling of the events of the artist’s life from the summer of 2018 to the summer of 2019, ups and downs, warts and all. When viewed as a whole it tells the story of the artist’s triumph over dark times and the sprouting of new found positivity from the ashes.