I can buy myself flowers – Irene Buchan, Veronica Mee and Niketa Shetty

Colour, materiality and the joy of creating is the thread linking the three individualistic, past and present, GSA Dentist, Surveyor and Business Consultant artists together.

Niketa Shetty is an Indian-born British artist who lives in Glasgow, Scotland.

Niketa received her undergraduate degree in Painting and Printmaking (2021) and her MLitt Painting, Drawing and Print Media degree (2023) from the Glasgow School of Art. Niketa is at present pursuing a full-time practice-led PhD at the Glasgow School of Art, School of Design and is currently in her second year of research.

Her artistic practice is interdisciplinary, spanning a wide range of mediums that include painting, drawing, printmaking, sculpture, and installation art. Niketa’s work defies conventional boundaries, striving to merge the realms and transformation of art, craft, and design, creating a vibrant and multifaceted body of work that engages with various forms of creative expression.

Niketa’s work is held in private collections.

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Veronica Mee takes inspiration from the Arte Povera Movement and the textile artists Bisa Butler and Shelia Hicks, Veronica’s work explores perception on both a human and societal level. Using both conventional and unorthodox materials; paint, fabric scraps, paper, rope and threads, her work aims to explore the boundaries we place on ourselves and others, questioning the narrative society can impose. What is craft? What is art? What is simply functional and unaesthetic, and what is superfluous but beautiful? And who decides?

Born and based in Glasgow, Veronica has worked as a NHS dentist for the last 30 years and is due to start her final year in painting and printmaking at Glasgow School of Art this September.

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Irene Buchan graduated from Glasgow School of Art in 2024 with a First Class honours degree in Fine Art (Painting & Printmaking). Winner of the SSA New Graduate Award and exhibition invitee to the RSA Edinburgh in November/December 2024.

The origins of the work stems from her early experience as the only female surveyor on a construction site and blatant sexist behaviour of male co-workers.

Her current works are a component of a series in which body forms—male, female, phallic, pregnant belly, androgynous, fluid, and non-binary—are portrayed through the creation of slip-clay ceramics and other softer materials using an inverse cast of the original urinal cast.

Other works are based on memories of childhood, fragility and absence. Alternating between the two areas with the use of humour or oddness in some of the work all the while exploring the body through material play and form.