A collegiate approach prevails over this group show of six graduates from Collective’s 2024 Satellite Programme of emerging artists. Taking its title from an Irish proverb that loosely translates as ‘people live in each other’s shadows’, Pass Shadow, Whisper Shade is disparate in approach, with shared themes of personal history running throughout. Tellingly, almost all artists make reference to their parents, grandparents or older ancestors.

Emelia Kerr Beale draws inspiration from her father’s now demolished factory with a large-scale grid of graphite drawings of ‘clock’ patterns, parts of a mechanical knitting machine and an industrial soundscape by Clara Hancock that sounds like a factory sampled. Hannan Jones’ looped 16mm-based moving-image piece ‘Hiraeth: Pandy Lane’ looks to Jones’ grandfather’s attempts to buy a suit in a work that resembles a 1970s folk-horror public information film. There is folk horror too in ‘Gastromancy’, Katherine Fay Allan’s digital film that chases some kind of healing in a choreographed call and response ritual by fantastically costumed women.

Clarinda Tse’s ‘Shower Duster II’ puts a shower into a seismic cave-like setting, where ancient objects inherited from Tse’s grandfather illustrate another fantastical world. Rowan Markson’s series of piano-based installations include sheet music translated by her father from Bach’s ‘Prelude In C Major’ for a series of disruptions best summed up by the title scratched into one work: ‘To Poke, To Prod, To Goad, To Incite’.

This attitude is heralded within Josie KO’s ‘Mekle Lippis’, two bright banners draped outside the gallery. With the central figure of a black woman in each, a third banner inside flanks a revolving sculpture in an appealing attempt to put black women’s history to the fore. A cohesive synergy runs across the exhibition that gives Collective the air of a gang hut. Here, hand-me-down baggage is dusted off and transformed into a reinvigorated show-and-tell.

Pass Shadow, Whisper Shade, Collective, Edinburgh until Sunday 22 December; main picture: Katherine Fay Allan.