Amy Auld
About:

Amy Auld is a formally trained, visual artist, who graduated from the Glasgow School of Art with a BA (Hons.) in painting and printmaking.
In her creative practice, she uses unconventional materials such as mirrors, resin and reflective plates to integrate traditional printmaking processes with her own distinctive approach. By merging painting, printmaking and drawing,  she develops an innovative style, reflecting all three disciplines simultaneously while transcending each.
Although it is contemporary, it still pays homage to traditional craftsmanship.



Contact:

 If you are interested in purchasing a piece of work or would like to enquire about commissions,  please get in touch using the details below. I welcome all enquiries and feedback.



  • Mobile:            07599 259 301










critters mirrored
final year project


My final-year project brings together four years of material and conceptual development. Using a technique refined throughout my time at art school, I engraved tendril-like forms directly into resin, carving intricate lines into the hardened surface. By working ink into these incisions, I was able to produce prints on paper and fabric, translating the rigid material of resin into something transferable and tactile.

This body of work was shaped by Donna Haraway’s concept of the Chthulucene, which redirected my research toward a more relational understanding of existence. Challenging the human-centred narrative of the Anthropocene, Haraway proposes a world of interconnected “chthonic ones” — human and nonhuman life entangled in processes of collective becoming.

In reworking and engraving these lines, I began to recognise them as living systems: plants, microorganisms, human and nonhuman forms intertwined. The tendrils no longer operated solely as psychological metaphors, but as expressions of sympoiesis — a shared, tentacular network of mutual responsibility and coexistence across species.










































































































































Dream Space
Second year project

My second-year project explores the relationship between the internal and external dreamspace. Through surrealist techniques and imagery drawn from dreams, I developed two interconnected bodies of work that investigate perception, memory, and environment.

The first body of work examines the internal dreamscape — an introspective exploration of the mind. Inspired by neuronal fibres and the intricate structures of the brain, I translated these organic internal forms into visual language. Using surrealist distortion and layered composition, I aimed to visualise the unseen architecture of thought and subconscious experience.

The second body of work shifts outward, exploring the external dreamspace. Here, I focused on organic environments and the ways natural spaces can feel surreal, immersive, and psychologically charged. The environment became an active collaborator in the making of the work. Moving between studio and landscape, I developed a practice rooted in dialogue — asking whether the forest grows within the unconscious, or whether the unconscious projects itself onto the forest.










These Things
Happen
First year project



During my first year at GSA,  I developed multiple bodies of work in response to a variety of briefs, marking an important period of experimentation and exploration within my practice. This included my first sustained engagement with oil paint. I set deliberate constraints within the process — limiting my palette to only a select few colours — to challenge my approach to composition, tone, and atmosphere.

 The culmination of the year, These Things Happen, draws on the symbolism of memento mori, reinterpreting traditional vanitas imagery through expressionist figures enveloped in shed hair.





























































































The  Sisterhood
Advanced Higher Art


The Sisterhood is a body of work I made for my Advanced Higher Art and Design, depicting two sisters situated within lush, organic environments. 

Visually inspired by the Pre-Raphaelite Brotherhood, the series draws upon their rich colour, symbolic natural detail, and romantic intensity.

Where the original movement often positioned women as muses or mythic figures, this work shifts the focus toward female kinship. The sisters exist not as subjects of longing, but as companions within a shared world — bound by nature, intimacy, and silent understanding.

Through botanical density and emotional stillness, The Sisterhood explores themes of connection, growth, and the quiet strength found in feminine alliance.