Glasgow Painting & Printmaking School of Fine Art

Ella Frost (She/Her)

My practice explores the feeling of immersion gained through both digital and physical environments. The environments cre- ated are imagined or inspired from a particular element of colour, light and form. My outcomes predominately work in series, each having various different material outcomes which aim to investigate, grow and explore the initial ideas being showcased.

I am interested to see how these interactive, immersive, colour-filled environments can create alternate narratives for the viewer. They pose questions about the environment we use to experience our art. Can they help the viewer reach different thoughts, ideas and memories? And to what extent can this be explored, developed and investigated though scenes which interact on a different level with the viewer. The works thus act as doorways to a world where the viewer and artist can meet, places that are unrestricted, curious and open.

My final showcase consists of three coded virtual environments (every one connecting to a physical painting and a sound file). Each acts as a doorway into a virtual experience, aiming to start a conversation with the viewer around imagined, immersive and unordinary virtual experiences.

Online Studio Website
Secondary Research
Blue Towers
Stepping Squares
Virtually Immersed

Blue Towers

Depicting an imagined dreamlike setting where to viewer moves around neutrally, experiencing this interactive virtual environment. Including an oil paint- ing and sound file that depicts the feeling of the setting.


The Blue Towers painting also works off the back of the virtual environment by illustrating the key elements of the setting. Its monochromatic gradient acts as a nod to the initial ideas around illustrating concepts, while still inviting the viewer into ambiguous setting off Blue Towers.

The Blue Towers code has similarities to that of the Stepping Squares, but is inspired more from the urban environments. It has a less obvious ‘path/direction’ for the viewer to follow, but rather invites the viewer to make their own direction around the setting.

Click here to see Foundational Code.


‘Blue Towers’ , Virtual Environment Still 1

‘Blue Towers’ , Virtual Environment Still 2

‘Blue Towers’ , Virtual Environment Still 3

‘Blue Towers’ , Virtual Environment Still 4

Blue Towers

Blue Towers

32 x 50inch, oil on canvas. 2021.

Stepping Squares

Interactive virtual environment exploring virtual immersion in imagined set- tings. Including a oil painting and sound file that depicts the feeling of gained by the environment.


The Stepping Squares painted version works off the back of the virtual environment by illustrating the key elements of the setting. It also stands as the first painting that doesn’t rely on a figure to give the narrative arc, but rather invites the viewer to become the figure in the setting.

The Stepping Squares virtual setting was solely created through code, specifically through Node.js, HTML and Javascript libraries. The Stepping Squares code also stands as the first more resolved coded environment as it fully creates a setting that was hinted at during the beginning stages of this years work.

Click here to see Foundational Code.


‘Stepping Squares’ , Virtual Environment Still 1

‘Stepping Squares’ , Virtual Environment Still 2

‘Stepping Squares’ , Virtual Environment Still 3

‘Stepping Squares’ , Virtual Environment Still 4

‘Stepping Squares’

32 x 32inch, oil on canvas. 2021.

Virtually Immersed

The ‘final’ virtual environment explores virtual immersion from a different level by drawing upon the physical human attributes to create the setting. Creating a curious overlap of an imagined environment and something known. Including a sound file and a separate oil painting, both depicting the feeling of the setting.


Virtually Immersed (painting) depicts the feeling of mystery around what the viewer is seeing in the virtual environment. The environment itself shows a video of myself moving objects in and out of range of the camera, this is then altered in the code to distort the video. Creating a strange crossover between virtual physical immersion. This is feeling is captured and hinted at within the painting, Virtually Immersed.

The Virtually Immersed code was one of the most challenging to fully understand. It pulls on video distortion and real time movement to create the finished outcome. This meant the monochromic mesh that changes from different angles, took time to fully achieve (e.g. going through 9 different video edits to reach the correct blue scale, reference padlet here to further understand).

Click here to see Foundational Code.

‘Virtually Immersed’ , Virtual Environment Still 1

‘Virtually Immersed’ , Virtual Environment Still 2

‘Virtually Immersed’ , Virtual Environment Still 3

‘Virtually Immersed’ , Virtual Environment Still 4

‘Virtually Immersed’

28 x 15inch, oil on canvas. 2021.