Two-Step Silkscreen Monotype

Beth Shapeero and Fraser Taylor

56cm x 76 cm


Gallery Price £400, Direct from Artist £250

XL Painting

Beth Shapeero


Paint on Fabriano Watercolour 300gsm

Dimensions Variable

Gallery Price £2000, Direct from Artist £1200

Two-Step Lockdown Drawing

Beth Shapeero and Fraser Taylor


Mixed Media on Paper


Gallery Price £250, Direct from Artist £150

Small Painting on Paper

Beth Shapeero


Mixed Paint on Paper

Dimensions Variable

Gallery Price £250, Direct from Artist £150

Two-Step: Drawn Together

During lockdown, the artists (Beth Shapeero and Fraser Taylor) sent A4 drawings back and forth by Royal Mail to one and other, allowing them to continue their collaborative practice. Drawn Together showcases a collection of their collaborative drawing at South Block in Glasgow.

April 2023

Lockdown Drawing 120, Mixed paint on paper, 2021, A4

Drawn Together

Two-Step: Playing Up

A solo exhibition at Glasgow Print Studio of new work by artist duo Two-Step (Beth Shapeero and Fraser Taylor).

April/May 2023

Works available at Glasgow Print Studio

Microsoft Word – Media Release_Two Step_ Beth Shapeero and Fraser Taylor_ April 2023.docx

Beth Shapeero and Fraser Taylor began their collaboration Two-Step after meeting and discovering one another’s practice in 2017 while on residency at the Studio Pavilion at House for an Art Lover, Glasgow. They took their first steps working together at Glasgow Print Studio in 2018, where they developed their individual aesthetics into a new language of rhythm and mark. Together they have established an improvised, somewhat unconventional, and fast-paced screenprinting practice.

Playing Up presents a new scale of print, the artists working at a size that is slightly too large, a little too uncomfortable, resulting in a variety of “errors” and strange marks. They characteristically lean into these unanticipated directions, exploring the work that emerges, which can be chaotic, or murky. They play from within the mess with intent. The back and forth of their interaction is fast paced, harmonious and in sync, like a dance.

The international dance artist, choreographer and researcher Sara Wookey observes that:

“Perhaps, what Two-Step teach us is that in making there is a practice of togetherness, a sociality, that has been lost to our contemporary moment of division and blame across politics, media and journalism and other areas of our society where we try and work together for the greater good.

Two-Step describe their temporal processes as a kind of ‘rhythm of working’, ‘not overthinking ways of working’, ‘speedy, repetitive, and responsive through time to the moment’. In a somewhat gently urgent way, not lingering on decision making, going on instinct and as their title suggests – evolve a succinct process of ‘one step, two step, done’ – Shapeero and Taylor manifest a dance of thought processes moving between them to animate their work forward. In a field of promoting artists as autonomous and mastered the work of Two-Step feels refreshing in that refuses to be overwrought in thought and more interested in the dance between two people that can occur when co-creating over any individual personal gain.

Microsoft Word – Media Release_Two Step_ Beth Shapeero and Fraser Taylor_ April 2023.docx

There is value not only in what is made by Two-Step but in the way they make. If we take a moment to stand back and observe their practice what we see are two distinctly different artists and people working together and in equal relation. Relational artistic practice is often reserved for the performing arts in which dancers, actors and musicians rehearse together in a studio and perform in ensembles and companies to produce a co-created piece of music, choreography or play. Within the visual arts the value of relationality as an aspect of making is lesser known and discussed. This is where Two- Step comes to the foreground to shed light on what working in relation might mean when co-creating material objects – in their case graphic images on paper and other two-dimensional materials.”

Beth and Fraser said: Our screenprinting process is invigorating, our collaboration pushes us to try new things, test our boundaries and consistently surprises us. We have great trust and respect in one another which allows us to take risks and go against our normal systems of making. This disruption, aligned with a rigorous process, results in work which we find truly exciting. Our ability to work with one another and find so much joy in both the process of making and what we produce, feels vigorous and distinct.

Beth Shapeero (b.1985) is an emerging artist from Nottingham who has lived and worked in Glasgow since 2011. She graduated her BA in Fine Art (Hons) at Nottingham Trent University in 2008 before relocating to Glasgow for the MLitt in Fine Art Practice in 2011. Fraser, originally from Glasgow, is an established artist and has spent a significant part of his career working in Chicago where he was a faculty member at the School of the Art Institute of Chicago. He graduated from GSA in 1981 with a BA in Printed Textiles and an MA in 1983 from the RCA in London. Alongside fellow RCA students David Band, Brian Bolger and Helen Manning, Taylor co-founded The Cloth, a highly influential 80’s creative studio focused on contemporary textile design and production. The Cloth worked with high profile clients such as Calvin Klein and Yves Saint Lauren, Spandau Ballet and Aztec Camera. Since 1983 Taylor has exhibited extensively in the UK, Europe, Asia and US. He returned to live and work in Glasgow in 2017.

Two Step: Playing up launches on Thursday 06 April from 6pm-8pm, and runs until Saturday 20 May 2023. It is free to view and can be visited during GPS opening hours, five days a week; Tuesday – Saturday, 10am – 5.30pm.

Beth Shapeero


Fraser Taylor

Two-Step is a collaborative project between two Glasgow based artists: Beth Shapeero and Fraser Taylor

Two-Step Woodside Terrace, Glasgow 2020
Two-Step, Govan Project Space, Glasgow 2019
Two-Step Big Four, The Beacon Art Centre, Greenock 2020
Two-Step Woodside Terrace, Glasgow 2020
Two-Step at The Loading Bay, Glasgow 2020-ongoing
Lockdown Drawing 86






Beth Shapeero and Fraser Taylor have been painting, drawing and printmaking together since 2018 as part of their collaborative project Two-Step.

Both living and working in Glasgow, they were drawn to one another’s work after noticing a distinctly shared aesthetic and process.

Since meeting they have produced 100’s of monotypes, a number of ambitious installations and undertaken postal collaborations during COVID-19 lockdown periods – a way of connecting throughout the disruption. The collaboration has become an important part of their creative practices and continues to grow.

Beth is an emerging artist from Nottingham who has lived and worked in Glasgow since 2011. Beth graduated her BA in Fine Art (Hons) at Nottingham Trent University in 2008 before relocating to Glasgow for the M.Litt in Fine Art Practice in 2011. 

Fraser, originally from Glasgow, is an established artist and has spent a significant part of his career working in Chicago where he was a faculty member at the School of the Art Institute of Chicago. Fraser graduated from GSA in 1981 with a BA in Printed Textiles and an MA in 1983 from the RCA in London. He returned to live and work in Glasgow in 2017.


To Stand in the Full Sun

by Beth Shapeero

Freedom in Abstraction, Power in Creativity was a participatory project developed with 16 Nicholson Street Gallery and with women from Empower Women for Change which culminated in a coproduced exhibition.























work produced at Print Clan



by Gwenan Danvies

Panting was commissioned as a companion piece for the exhibition ‘Turned the Wrong Way’ at Studio Pavilion


71. I treat colour concepts like the concepts of sensation.


It’s Tuesday, I think the 28th September,

I’m sitting on the riverside with some lovely warm afternoon sun hitting my right cheek. I’m abroad; and in new environments I like to see things and myself anew- colour, scale and affectations- almost like the new place gives me new eyes, fresh each time. I lean into it, letting the days linger and plans loosen as I unravel and flop, my melting body drooping onto and absorbing new surfaces.

Today’s been quite a multi-sensory experience. My ears have been picking up all of these new things- bottles clinking on an old man’s trolley as he collects empties, the light rain of earlier against the cobblers- an in-between rain, the heaviest of it creating globules against the ground. Slow and soft.

How would I write about a blob? And about time? Maybe with the Pitch Drop experiment? It’s the process of suspense, the speculative as definitive, an assertive mystery. The abstraction of a whodunnit, of traces of action becoming clues.



84. A colour which would be ‘dirty’ if it were the colour of a wall, needn’t be so in a painting.


17 November 2021,

It’s all smears, sludge, dragging residue, drips.  As we spoke I just kept on thinking about a text from a friend that I’d received on my way to the studio, telling me about finding drying puke clumped in her baby’s hair. I couldn’t stop picturing it clumping, how it would stick together, glueing to his face with his clammy sweat- actually wetter than sweat, a bit more like spit as it relates to the vomit.. Water-wet, not oil.

It’s a coating, swiped and dragged back and forth, smeared across, wiped into and off of the skin simultaneously.

Sometimes that brow wipe causes chills and a shudder as the body resets. And there’s panting. I could talk about puke for hours.

When my achalasia was bad, a deep bottom of the stomach bile chuck would be a sign my spasms were ending, they had reached the bottom. This was the most satisfying part and the most painful. If I see yellow I know it’s the end. There’s a dark optimism; everything is still in place and yes I’m alive. And yes I feel good. Fuck I feel good.


101. We have prejudices with respect to the use of words.

102. When we’re asked “what do ‘red’, ‘blue’, ‘black’, ‘white’ mean?” we can, of course, immediately point to things which have these colours, – but that’s all we can do: our ability to explain their meaning goes no further.


It was Christmas Day 2018, about 7pm, with the family. The atmosphere was quite tense, at the edge of exhaustion and exacerbation, but still trying to convince ourselves that we were having fun and that life’s problems had gone away for that one day.

Maybe at this time other families would play games, or perhaps take time out for themselves. I decided that it would be a good time for us to walk to the beach, to watch the stars and take in the sea air. We packed a tote bag with a bottle of red wine, plastic cups and a tube of Pringles, and off we went.

On the dark beach we poured out the wine into the cups and sat in silence letting the sea air settle us. One of us commented it could be nicer to go closer to the sea so we could hear the waves better, rather than the constant hum of cars on the A55. We gathered our things and slowly moved over, lit by the golden road lights and white phone torches. The beach in Abergele is cobbled, and as it slopes down to the sea it creates these steps. We reached a step that was too steep to traverse, so decided instead it was a good place to sit. Again we topped up the wine and passed around the Pringles.

Through the darkness I could see the outline of my hand cupping the wine, the dark volume lessening with each sip to reveal the yellow plastic. I heard mum breathing, I heard Sam’s fingers tapping against her phone. The stars shone above, on the horizon lights from the wind farm twinkled and we all went silent again, listening attentively to the sea and smelling the salty air.

I rested my eyes on the shoreline, scanning the smooth barrier line between pebbles and water. I became aware of the stillness and calm water. It was a nice moment.

But then I got confused about the sound. If it wasn’t the A55, and if the sea was still, what were we hearing? Examining the shoreline again, my eyes followed west. I began to make out a shape, some kind of large dark mass that crossed the line from pebble to sea. I finished my wine and began to gather my things to leave.

“Guys. What we’re hearing isn’t waves. That dark shadow there to the left? That’s the sewage pipe draining out to the sea.”


by Gwenan Davies

Numbered quotes are from Ludwig Wittgenstein’s Remarks on Colour

Get Your Skates On

by Jan Patience

The Shape of Things

Beth Shapeero

In collaboration with learners from Leeds City College, ‘The Shape of Things’ is exploration of abstract gestures inspired by slowing down and noticing our everyday surroundings. Funded by the Alexandra Reinhardt Memorial Award (ARMA 2020), this participatory project is framed as a way to equip young people with mindful techniques for coping with the stresses of life.  

The Tetley, Leeds 2021-2022

Turned the Wrong Way

by Beth Shapeero

Solo show at studio Pavilion at House for an Art Lover

December 2021