MSc Heritage Visualisation School of Simulation & Visualisation

Gráinne Fellowes (she/her)

Graduating with an MA in Art History from the University of St Andrews in 2020, my interdisciplinary practice explores the intersection of theory, practice and design. Undertaking this course and developing 3D visualisation and design skills in the creation of interactive applications, which focus on extending accessibility in museum, gallery and archive settings, my final project Gray Sounds highlights the potential of novel uses for 3D models. This years practice has also been heavily influenced by my own personal and professional love of the archive. Spending most of this year as a collections assistant working with contemporary Scottish art, my current practice observes how the archival object can be represented and re-presented through alternative media for a digital age.


Gray Sounds
Card Only Contactless Preferred (Zine)
Kelvingrove Art Gallery and Museum (3D Model)

Gray Sounds

Gray Sounds is an exploration into the novel uses of 3D models for use in 3D generated dynamic soundscapes. Taking an archival objects point cloud data from photogrammetry, each point of the model is converted into notational value to produce a composition for use in a soundscape which aims to re-present the object for a non-visual audience. This develops the use potential of 3D models and challenges histories of predominantly visual based cultural heritage. These soundscapes have been developed for inclusion in an interactive application acting as a soundscape library, Gray Sounds. Focusing on 2 pieces of furniture which tell the extraordinary tale of Glasgow great Alasdair Gray’s life and work through their rich contextual and visual histories, please enjoy Lanark Trunk and Plan Chest below…

Plan Chest Soundscape

Lanark Trunk Soundscape

Gray Sounds Navigation Scene

Card Only Contactless Preferred (Zine)

From Cildo Miereles’ Insertions into Ideological Circuits in the early 1970’s to Jenny Holzer’s Truisms which are still produced today, post-modern art has sought to reveal the nuances in the relationships between knowledge, information, mass media and commercialisation. What these works, and Card Only, Contactless Preferred have in common, is the application of semantic information to create thoughtful relationships for the viewer which intends to provoke introspection, specifically about their own behaviours and positions within power super-structures.  Focusing on the COVID-19 pandemic, Card Only, Contactless Preferred seeks to explore how the commercialisation of information according to the writing of Jean-François Lyotard (1979) in the postmodern era relates to and affects the production and influence of mass-produced goods within the epoch of popular culture as suggested by Jean Baudrillard.












Kelvingrove Art Gallery and Museum (3D Model)

Modelled in 3Ds Max and textured with photoshop, this is a 3D model of Kelvingrove Art Gallery & Museum.