![\"Luke](\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2026\/08\/cockayne-luke_tree-museum_2026_grandmas-casserole_strange-field-glasgow_install-05_photo-choin-lee.jpg\")
<\/a>The exhibition takes place at Strange Field, a former brick-red weaving factory in Glasgow\u2019s East End. It unfolds around a central work, Luke Cockayne\u2019s installation Tree Museum<\/em> (2026): a wobbly, circular structure functioning as a \u2018museum\u2019 for found, ordinary materials, such as branches, feathers, wool and ropes. Cockayne resorts to humour to provoke the authority of museum institutions in deciding which objects should acquire cultural value. At the same time, the work proposes a more generous possibility: that the dull, overlooked and apparently purposeless might deserve to be looked at, collected and cared for.<\/p>\n\n\n\n The transformation of the insignificant into something profoundly meaningful is also pursued in Elizabeth Riddell\u2019s Backcourt Liz<\/em> (2026), in which a local heroine of the Glasgow household is elevated into a civic icon. Riddell\u2019s work operates between affection, nostalgia and absurdity, asking who and what becomes worthy of commemoration. Similarly, in Imogen Cowan\u2019s film Questo Ti Volevo Dire<\/em> (2025), family stories and superstitious rituals serve as mechanisms to delay the anxiety of an inevitable separation within the family.<\/p>\n\n\n\n Glenn\u2019s Story Time, Hold for 2x<\/em> (2026) employs humour to address a traumatic healthcare experience. The artist adopts TikTok’s personal storytelling as a strategy for relief and exorcism of bodily pain. The adopted comic approach also allows her to address the social taboo of speaking publicly about women’s healthcare and eventually serves a wider social function \u2013 to operate as an empathetic device for other women who share her same experience.<\/p>\n\n\n The loss of certainty and control is also at play in Margarita Shuvaeva\u2019s St Peter<\/em> (2025). The artist, however, does not resort to humour to address anxiety, but embraces contingency as part of the artistic process \u2013 the paint, kept deliberately diluted, exceeds the control of the gesture and begins to drip. Going beyond representation, Shuvaeva creates spaces that capture the structures and tensions of forms, where the vividly perceived gradually dissolves: an unfolding towards the unknown, in which the artist herself becomes a medium, a carrier through which the work takes shape.<\/p>\n\n\n While Anna Solomko recurs to Augmented Reality to unsettle reality and animate a mural, Vlada Markinadova employs painting to explore how we project familiarity into the outside through our stories, memories, or associations. Markinadova deliberately employs the artistic medium as a site where perception is re-activated. Spanning painting, drawing and sculpture, her practice develops around a research thread in which viewers are invited to complete the fragmented, the incomplete and the blurred with their own memories. In Transparent<\/em>, the painted landscape plays with the idea of an abstract, generic image as a space the viewer can enter, finding comfort in a scene that becomes familiar through the act of projecting personal memories.<\/p>\n\n\n<\/a><\/a>