Residents / 2019

Amelia Tan works with performance and film. She reflects on both the bizarre and commonplace ways that people behave in public space. Looking at the way we frame ourselves within our surroundings, she believes all environments have the potential to be a stage, however mundane. Upon graduating from BA Intermedia at Edinburgh College of Art in 2018, Tan was awarded a residency at Edinburgh Sculpture Workshop. In 2017, she founded a performance company – her film The On+on Company documenting their processes was nominated for the TENT Academy Award, Rotterdam. Since August 2019, she has been in residence at Meet Factory, Prague.

tanamelia.com 

Andy Grace Hayes is an artist and writer living in Glasgow. Since graduating with a BA from Edinburgh College of Art in 2018, he has self-published regular art criticism in GREASE COLUMN. His research interests have grown out of an attraction to institutional critique and that which is fictionally-driven and sexually-charged. In his work, Hayes plays with the expectation that criticism, and other non-fictions, must champion facts and reality.

andygracehayes.co.uk

Revealing the intersections between digital reproducibility and the assimilative late-liberal cognitive schema, Colm Guo-Lin Peare’s practice aims to understand identity through subjecthoods determined by technologically produced alterity that resist the homogenisation of disembodied machine-learning processes. Drawing upon the body politics of decoloniality and queerness, Peare’s curatorial, administrative and artistic work explores whether corporeal precarity can be a consolidating framework that allows for a shared politics of solidarity whilst sustaining difference. (Written with GPT-2).

Peare sits on the current committee of Transmission, recently contributed to the conference Reorganising Cultural Institutions at the Baltic, and is the Writer-in-Residence at Berwick Film and Media Arts Festival in 2019. Peare graduated from Fine Art: Painting & Printmaking at Glasgow School of Art in 2019.

Danny Pagarani is a musician, artist and occasional writer. Pagarani works collaboratively and as an individual. Danny is a dream of momentary, applied, coherence.

Danny Pagarani graduated from BA Sculpture & Environmental Art at Glasgow School of Art in 2018.

Esther Draycott is a writer, based in Glasgow, whose work is focused on experimental historiography and reparative criticism. Having graduated from UCL with a Bachelor’s degree in History, in 2019 she completed an MLitt in Art Writing at Glasgow School of Art, where she developed an interest in the formal, visual and ideological limitations posed by academic writing on queer, feminist and postcolonial narratives.

She has recently completed a book, The Collector, exploring the intellectual manipulations and repressions held among bourgeois interiors. Other published texts include 1979: women’s style in four objects, exploring second-wave feminist fashion as a critical ontology.

Since graduating from DJCAD in June 2019, Finlay Hall has spent his time making music, running an art gallery in a car park, sailing to Norway, signing on and off, and making various performances in Dundee, Edinburgh and Glasgow.

His recent work “Free Caricatures (of me, by you)” is indicative of his approach to performance, often using the medium as a vehicle for audience empowerment – highlighting the audience’s responsibility for an event’s success by relying on them directly.

He plans to focus his time over the next few months developing the written aspect of his practice – using this as a basis to make music, sculpture and performance.

Working mostly within the medium of snapshot photography, amateur museums, and liturgical call and response, O’kafka is constructing a ‘fractured family album that hangs somewhere between an emotional document and a fiction.’  Though extremely personal, her work also engages photography’s problematic history of the picturing of illness, disability, and the suffering. Graduated in 2018 from Glasgow School of Art’s BA Fine Art Photography department, Flannery O’kafka has completed artist’s residencies in both the US and the UK as well as her first solo exhibition ‘Thin Blood / Thick Water ‘ at Stills Centre for Photography. Three of her works have been acquired for City Art Centre’s Scottish Photography Collection.

www.flanneryokafka.com

By situating the body outside the constraints of binary structures, Hamshya Rajkumar explores what it means to be human in a world where ‘nature’ is separate, dominated and objectified. Networks of elements (such as water and air) are hijacked to illustrate borderless identities that extend to the non-human. Rajkumar choreographs situations to participate in the celebration of mutual empowerment.

Hamshya Rajkumar graduated from BA Fine Art, Sculpture and Environmental Art at Glasgow School of Art in 2018.

Katrina Cobain is an artist, performer and customer service expert. Interested in the neoliberal world, she creates pieces which study professionalism, corporate persona and absurdities of modern life. Working across mediums including; performance, sculpture, video and writing, Cobain pokes fun at familiar routines and accepted everyday occurrences, such as precarious contracts and company codes. Research is the foundation for her practice, from reading economic studies to using local heritage to direct a work. Cobain is interested in discussing the intersection of labour and art practices, and how “jobs” influence “work”.

Katrina Cobain graduated from BA Sculpture & Environmental Art at Glasgow School of Art in 2018.

Renèe Helèna Browne is an Irish artist based between Glasgow and Donegal. Through an analysis of specific historical and contemporary narratives, Browne is concerned with feminist epistemology and the bodily experiences of that knowledge. This research is formed through video, writing, sound, and drawing. They have recently presented work at Português de Artes e Ideias, Lisbon, Glasgow School of Art MFA Degree Show 2019, Ones to Watch at CitizenM, Edinburgh Art Festival 2018, CCA Glasgow and Hotel Maria Kapel, The Netherlands.

Renèe Helèna Browne graduated from the MFA at Glasgow School of Art in 2019.

reneehelenabrowne.wordpress.com/

Saoirse Anis is a Dundee-based artist, working primarily with sculpture and performance. She takes delight in exploring the relationships between materials, memories, and the essential movement which runs through everything. Interested in the value of empathy, she has recently been thinking about personal therapeutic processes, and how this relates to the ways we share our vulnerabilities with others. She is interested in the potential that lies in creative collaboration, and the extent to which it can nurture and inspire us, both personally and politically. She graduated from Duncan of Jordanstone in 2018 with a BA in Art & Philosophy.

www.saoirse-anis.com

Siri Black is an artist and recent graduate of Glasgow School of Art BA Fine Art Painting and Printmaking. Her practice is the lovechild of pure anachronism and technophilia. Siri Black considers the sculptural qualities of film to test the intersections of the observer and the observee; image and image-carrier. Recent screenings and exhibitions include ‘Too little too late’ with Eleni Wittbrodt at Outlier, Glasgow, ‘They cry out through stones to each other’ with Tess Wood and Kien Denier at Stow College, ‘Creative Reactions’ in collaboration with PhD Engineering student Isha Maini at St. Enoch Centre, and ‘Excerpts’, a group screening at the CCA. Siri Black is currently working on an upcoming show at Lunchtime Gallery, Glasgow. 

Beverley Chapman’s practice has developed from the (ongoing) restoration of a full size fairground horse. This process has enabled her to engage with and make new work that responds to multiple relevant topics including, life cycles, folk culture, memory and archives (especially in terms of the ethics around them). Whilst the new work undoubtedly has its own agency, it also informs the decisions that she makes about the horse restoration.

Chapman’s practice is situated in the expanded field of sculpture and recently she has been experimenting with the inclusion of the written word to enhance her sculptural storytelling.

Danica Maier is an American born artist currently living and working in Lincolnshire, UK. Her practice uses site-specific installation, drawing and objects to explore expectations, with subtle slippages which transgress propriety. She is part of artists’ group Returns, which explores the post-industrial landscape, manufacturing and craft skills. With Andrew Bracey she co-leads Bummock: Artists in Archives, investigating unseen parts of archives as catalysts for artworks. Focusing on a shared interests in disrupted repetition, the glitch and line, with composer Dr. Martin Scheuregger she is exploring and rendering as music – technical lace diagrams in Score: Mechanical Asynchronicity.

Supported by a bursary from a-n The Artists Information Company.

Daniela Cascella (Italy/UK) writes and researches forms of criticism that inhabit, echo, and are haunted by their subjects: literature, voices, and concealments of the self. Writing in English as a second language, writing as a stranger in a language, she is drawn toward unstable forms of writing-as-sounding, and toward the transmissions and interferences of knowledge across cultures. She has written three books in English: Singed. Muted Voice-Transmissions, After The Fire (Equus, 2017), F.M.R.L. Footnotes, Mirages, Refrains and Leftovers of Writing Sound (Zer0 Books, 2015) and En Abîme: Listening, Reading, Writing. An Archival Fiction (Zer0 Books, 2012), and has published and lectured internationally.

www.danielacascella.com

Danielle Hark is a writer and artist who lives with PTSD and bipolar disorder. She is the founder of the non-profit Broken Light Collective that empowers people with mental health challenges using photography.

Danielle works in a variety of creative genres. Her current work combines poetry, photography, and mixed media art to explore mental illness and trauma through her lens.

Danielle has an affinity for tattoos, foxes, and Greek Mythology. She lives and creates in New Jersey, USA, with her husband, two sassy young daughters, a Samoyed pup, a Scottish Fold cat, and a studio full of creepy dolls.

www.daniellehark.com IG: @daniellehark

Erin Woodbrey is a visual artist whose body of cross-disciplinary work —videos, photographs, prints, and sculpture— are defined by their shared fascination with process and the lineage of learning through objects. Woodbrey’s work is presented, piece by piece, as an origin-based examination of fabricated and naturally occurring units of space and time. Her gaze, wide in scope, is trained on the interrelated qualities of process, materials, nature, and architecture and asks essential questions about how the functions of objects and nature inform, mirror, and tend to the human condition.

Recent solo and two-person exhibitions include The Fragment Series, Gaa Gallery, Provincetown, MA, USA; Quill Isn’t Staying Now, with Dani Leventhal ReStack, Gaa Projects, Cologne, Germany; Leg, Limber, Lumber, Limb, Higgins Art Gallery at Cape Cod Community College, Barnstable, MA, USA; Time Mothers, Gaa Gallery Provincetown, MA, USA; Material Studies, Arena Gallery, Liverpool, UK; and Air of Another Planet, Gaa Gallery, Wellfleet, MA. Group exhibitions include Ain’t No Use, Cry Baby, Berlin, Germany; CMCA Maine Biennial, Center for Maine Contemporary Art, Rockland, ME, USA; The Grass is Green, Gaa Projects Cologne, Germany; Beneath Metropolis, Blue Star Contemporary Art Museum, San Antonio, TX, USA; New Narratives, International Print Center, New York, NY, USA; and For Love, Not Money, Kumu Art Museum, Tallinn, Estonia. Woodbrey received a BFA from the School of the Museum of Fine Arts at Tufts University in 2007and an MFA from the School of the Art Institute of Chicago in 2014.

Erin Woodbrey has been awarded the Print Place on the November Interdisciplinary Residency.

Lada Wilson gained an MFA Art, Society & Publics at the University of Dundee in 2014. Wilson’s artworks reflect on the environment she finds herself in, including the people and their languages and culture. Her strong interest in collaboration and its results evoke other forms of imaginative engagement. Past projects include exhibitions in Seto City, Japan (2019) and the Scottish Fisheries Museum, Anstruther (2019) and a performance at Carnegie Hall, New York (2018). In 2017, Wilson collaborated with Nigerian performance artist Jelili Atiku at the Venice Biennale and created two performance works inspired by the museum collection at Timespan, Helmsdale.

ladawilson.blogspot.com

María Hrönn Gunnarsdóttir is an Icelandic artist living in Reykjavík. She has a M.A. in Fine Arts from the Iceland University of the Arts, a diploma in ceramics from the Reykjavík School of Visual Arts, a M.A. in Pharmacy and a diploma in journalism from the University of Iceland.

María’s recent art practice studies how tribulations and traumatic events in life become the source of creativity. She is interested in how memories and imagination take the mind into unexpected journeys through the past, present and future, and how this often is intrinsically woven into the landscape and everyday objects. Her works are mostly installations but the focus of her resent investigations is how to move toward two dimensional works, which incorporate “slow time” as the third dimension.

Fascinated by the fluidity and mythology of American histories, Marika Borgeson uses film and video to explore the suspension of time and the creation of legends through historic sites, museums, landscapes, and archives. Currently based in Los Angeles, California, her interest in the intersections of the historical and contemporary has recently manifested in the investigation of traditional opera repertoire and its ability to engage with current affairs.

Her work has screened internationally in galleries and festivals, including the New York Film Festival, the Ann Arbor Film Festival, the Void Gallery in Derry, Northern Ireland, and the Media City Film Festival in Windsor, Canada. She holds a degree in Classical Vocal Performance from New York University and an MFA in Experimental and Documentary Arts from Duke University.

Niamh O’Loughlin is Dance Artist currently based between Ireland and Scotland. She graduated from The Scottish School of Contemporary dance with a First Class Ba Hons degree. Since graduating she has taught for organisations such as Scottish Dance Theatre, Shaper/Caper, The Byre Youth and Community Arts and Tayside Healthcare Arts Trust. She regularly performs with Movement based ensemble Third Thread.

She is interested in inclusive practices, improvisation and choreography. Her most recent work “An Fathach Mór” (“The Big Giant”) has been support by Scottish Youth Theatre’s Making Space program and Dundee Rep theatre. It is a children’s work exploring the legends of The Giants Causeway and the cultural links between Ireland and Scotland. Her practice combines movement voice and sound.

Chloe Laurence is a multimedia artist, her practice combining printmaking, performance and moving image.

Laurence grew up in London and graduated from the University of Brighton in 2016 with a Bachelor of Fine Arts degree in Printmaking. She has created site- specific works across England, Scotland, Canada, Denmark and Sweden.
Laurence’s practice is a form of visual storytelling, conveying moments of interactions in nature. Using walking as a base of the work, the performance is the experience, the film and the print is the document that the experience happened. The pieces invite viewers into Chloe’s world to engage with human activity and the use of the body into ways of thinking about our situated place in the world, to evoke a feeling of freedom within the playfulness of creating.

Printmaking means to Laurence ways of thinking and problem solving, as an approach to becoming more alive in a way that asks us to engage with life in a visceral and interactive way.

Born in Nagano in 1990. Lives and works in Kanagawa. Sato obtained her Master of Fine Arts in Film and New Media from Tokyo University of the Arts in 2018.

Making use of a lecture format, Sato’s practice focuses on narratives. By linking issues that arise in the process of investigating historical facts in a multifaceted way, Sato constructs a story that interweaves fiction and documentary. Sato’s works are the product of her interest in Japan’s pursuit of a distorted form of modernization and the plurality conveyed by events that have fallen through the cracks of History with a capital H as well as her attraction to legends and ruins that survive in various places.

Selected Exhibitions and Activities: 2019 ‘The Double Tsuburaya’, Performance, SHIBAURA HOUSE, Tokyo; 2019 ‘Centaurus on Route 103’, Screening, Shibuya Euro Live, Tokyo; 2019 ‘Centaurus on Route 103’, Exhibition, Gallery Saitou Fine Arts, Kanagawa; 2018 ‘The Debris and Tower’, Performance, Asakusa Public Hall, Tokyo; 2018 ‘Shiro-Kitsune, The Hidden Song’, Performance, BankART Studio NYK, Kanagawa.

Tomoko Sato joins the Autumn Residency 2019 at Hospitalfield.

Bob Kil lives and works in Berlin.

Kil has performed at Kunsthal Gent (2019); DRAF x O2 Forum, London (2018). Kil will perform at Pogo Bar in KW Institute for Contemporary Art, Berlin and at E-Werk, Luckenwalde.

Kil initiated bobshop, a space for performances and readings in Berlin.

While at Hospitalfield Kil will work on the book ‘but bob’ due to be published by Juan de la Cosa / John of the Thing.

Bob Kil will join the Autumn Residency in 2019.

Kamiel Verschuren (NL) is a conceptual interdisciplinary artist, working in a broad practice with a special interest for the public domain and the artists’ position in society from different positions; as drawer, (spatial) designer, designer of public space, organizer, initiator, social activist, observer, urban advisor, landscape artists, producer and publicist; co-founder of several artist initiatives like foundation B.a.d (1989), Stedelinks010 (2011-), the international project organization ICU art projects (2009-), the self-management organization NAC foundation (2004- ).

Abroad he is active in several long term collaborations with S-Air (Sapporo Artists in Residence), La Source du Lion (Casablanca) and with doual’art for SUD Salon Urbain de Douala. Since 1996 he is closely involved with the urban and social development of Rotterdam South.

www.stichtingbad.nl/bad-artists/kamiel-verschuren

Kamiel Verschuren will join the Autumn Residency in September 2019.

Jasmine Johnson’s work incorporates video, drawing, installation, sound and performance to produce increasingly ambitious portraits of globally dispersed individuals. Johnson’s solo presentations include Barbican FreeStage; Almanac; Jerwood Project Space; ANDOR Gallery, with MoreUtopia! (all London); DeVos Museum with Rachel Pimm (Michigan); ASI & CCI Fabrika (Moscow) and Eddie Peake’s Hymn Programme (Online). Group presentations include the Barbican Level G; Government Art Collection (all London); Bloomberg New Contemporaries (UK) Daata Editions (online); Place des Arts (Montreal); . My work has been screened at Chisenhale Gallery, ICA, Jerwood Presents – Genesis Cinema and Contemporary Art Centre (Vilnius). She works as a visiting lecturer at Nottingham Trent University.

Jasmine Johnson will join the Autumn Residency in September 2019.

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Yevgen Nikiforov is a Ukrainian visual artist, a director, and a documentary photographer. Since 2013 Yevgen has been working on independent documentary projects. Yevgen is the author of the book Decommunized: Ukrainian Soviet Mosaics. One of the major subjects he has been working on for five years is Soviet cultural heritage, which remains in towns all across Ukraine, and the controversial attitudes towards it today. Recent exhibitions include: Ludwig Museum(Budapest); YermilovCentre (Kharkiv, Ukraine); HOME (Manchester, UK); Dworzec Główny (Wroclaw, Poland), Mystetskyi Arsenal (Kyiv).

Yevgen Nikiforov will join the Autumn Residency 2019.

nikiforovyevgen.com

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Nao Nishihara is an active practitioner of sound activities, sound art, performance and instruments production. His interests and motivations are developing to the body and objects because they are necessary to make sound. And the developments extends his activity area across art and music interdisciplinary.

His exhibitions, often along performances, include, Roppongi Art Night 2019 (Tokyo, Mori art museum), Synthetic Mediart 2019 (Taipei, EcoARK Taipei Expo Park), KANGKANGEE Arts Village Project (Busan Korea, 2018), May these sounds last forever (Hiroshima City Museum of Contemporary Art, 2017), Shibuyajizai (Tokyo Wonder Site Shibuya, 2017). He performed at Super Deluxe Tokyo, Experimental Intermedia NY, Judson Memorial Church NY, Issue Project Room (with Aki Onda, 2016, NY) and Archa Theatre (with Min Tanaka, 2017, Prague).

Nao Nishihara will join the Autumn Residency in 2019.

Situated between writing, performance, video and exhibition making, Bryony Gillard’s practice draws on the notion of ‘constant revision’ — states of being in which structures or ideas can be subverted, dissolved or questioned. Often focusing on investigating marginalized herstories and practices, through a process of both uncovering and layering influences, histories and conversations, her work attempts to create a space for genealogies of feminist practice that are allusive, messy and entangled in contemporary concerns.

Bryony has an MFA from the Dutch Art Institute, School for Art Praxis. Her work has been included in a range of national/international contexts including Tate St.Ives (Cornwall), Fitzwilliam Museum (Cambridge), Upominki (Rotterdam), Depimlico Project (London), Field|Guide (Boston), Documnt (New York/Berlin), Casa de Pova (São Paulo).

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Ed Webb-Ingall is a filmmaker and researcher working with archival materials and methodologies drawn from community video. He collaborates with groups to explore under-represented historical moments and their relationship to contemporary life, developing modes of self-representation specific to the subject or the experiences of the participants.

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Kate Morrell works closely with archives, collections and libraries to develop projects that identify and respond to marginal or overlooked histories. Her practice interlaces drawing, text, sculpture, book works and archival research. In 2018 she received funding from Arts Council England and British Council’s Artists’ International Development Fund, to undertake a period of research at Sitterwerk, Switzerland. In 2017, she was awarded the British Council Scholarship at FLORA, a 10 month residency in Colombia. Her imprint ‘Pleats’ acts as a catalyst for collaborative print projects which explore relationships between archaeological and artistic practices.

www.katemorrell.com
www.pleatspress.com

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Matthew Arthur Williams is a Glasgow-based photographer, an artist and a DJ working through multiple disciplines that hold conversations with each other focusing on the nuances of otherness. In recent years collaboration in production and collective organising have taken an important role in how the work is developed. His work has exhibited throughout the UK, with the most recent being the group show Ambit at Street Level Photoworks (2019) and has self-published a number of books such as NYC (2015) Travelogue (2012).

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Rhea Storr makes films about Black and Mixed-race identities, asking where images fail or resist us. Recent themes include Masquerade and Black bodies in rural spaces. She often works on 16mm film whilst making peripheral drawings and photographs. Recent screenings include National Museum of African American History and Culture, US, European Media Art Festival, Hamburg International Short Film Festival, Kassel Doc Fest, Berwick Film and Media Art Festival and ‘Get Up Stand Up Now’, Somerset House. She is the winner of the inaugural Louis Le Prince Experimental Film Prize and works runs the film lab at Not Nowhere film cooperative, London.

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Aniela Piasecka was born in Glasgow and currently lives and works there. Working within collaborative, multi and interdisciplinary contemporary artistic contexts, her practice lies at the intersection of dance, the expanded field of performance, film, text and sculptural installation. She is part of STASIS, one half of Proudfoot & Piasecka, and is a Dance Base Associate Artist. Solo and collaborative works have been shown at a variety of contemporary art platforms such as galleries (Cubitt Gallery London) film festivals (Scottish Queer International Film Festival), digital platforms (Nowness), art festivals (Glasgow International Art Biennial 2016/2018) and performance venues (The Place London).

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Jo Clement is a poet and interdisciplinary practitioner based in North-East England. Her artworks explore the ekphrastic intersections between visual and sonic literary art. In 2012 she received a Northern Writers’ Award from New Writing North and has since been shortlisted for the Bridport, Melita Hume and Troubadour International prizes. Jo is Managing Editor of the bi-annual independent arts-poetry magazine Butcher’s Dog and co-edits the journal of the Society of Wood Engravers, Multiples.

She most recently completed a practice-led PhD at Newcastle University. The research was awarded an inaugural AHRC Northern Bridge scholarship.

www.joclement.co.uk

Mathew Parkin is an artist and home cook from Wakefield currently based in Scotland. They mainly work in moving image and text, working in and against institutions. They are particularly interested in autobiography, the social elements of exhibition making and how to support various bodies to inhabit art spaces. Often they work with friends, lovers, peers and family both in the production and subject of moving image work. Recurring themes are the body, accessibility, class intimacy, geography, caring, provisional, queerness, sex and kinship. They are trying to resist dominant forms of media and sit against professionalised forms of moving image production.

In 2019 they will be in residence at Hospitalfield and CCA Glasgow. Recently they have produced exhibitions or screenings at or with LUX Scotland, V22, Grand Union, Embassy Gallery, IMT Gallery, the ICA,Two Queens, Set The Controls For The Heart Of The Sun, Eastside Projects, and Supercollider. They gained an MFA from Glasgow School of Art (2018) and were a participant of The Syllabus programme 2015/16.

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Collaborative artists Mike S Redmond and Faye Coral Johnson (MSR FCJ) are the duo behind collections that dare to explore all manner of odd but enchanting circumstances. Through an experimental exchange, somewhere between the chaos and harmony of melding visual ideas, MSR FCJ consciously push traditional concepts of draftsmanship in favour of personal styles of figuration in order to present an intensely personal view of the world around them. Since 2006, through a multidisciplinary exploration of collaboration within experimental drawing, book art, painting, sculpture and installation, they have been filling walls and pages throughout the UK, Europe and the US.

www.msrfcj.com

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Nicola Singh (born Newcastle) makes work that is rooted in performance and moves across disciplines, as she responds to contexts of feelings and chance, encounter and dialogue and to location and place. She prioritises performative, discursive and physical approaches to her practice, research and pedagogy. Recent performances and exhibitions include: Eastside Projects, Birmingham (2018), IMT Gallery, London (2018), Workplace Gallery, UK (2018), Hongti Art Centre, South Korea (2018), LUX & LUX Scotland (2017) and BALTIC, UK (2017). She holds a practice-based PhD in Fine Art, titled “On the ‘thesis by performance’: a feminist research method for the practice-based PhD”.

www.nicolasingh.co.uk

Rae-Yen Song lives and works in Glasgow, having graduated from Sculpture and Environmental Art at the Glasgow School of Art in 2014. To date, Rae-Yen’s work has involved the use of drawing, sculpture, costume, props, video, family collaboration and performative actions in public. She has shown work recently at BALTIC in Gateshead; Bluecoat in Liverpool; G39 in Cardiff; Jerwood Space in London; Edinburgh Art Festival 2018; DOC in Paris; and JDA Perera Gallery in Colombo.

www.rae-yen-song.com

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Abigail King is dress and costume researcher, costume designer and embroidery artist. She attended Edinburgh College of Art to study Performance Costume. Beginning her masters in Dress and Textile Histories at the University of Glasgow in 2018. Her work focuses on late nineteenth and twentieth/twenty-first century dress and costume, she is especially interested in the creation of character for film and TV and is completing her dissertation with the working title ‘Sister Suffragette! How have the films ‘Mary Poppins’, ‘Iron Jawed Angels’ and ‘Suffragette’, conceptualised Suffragette characters and what effect do they have on an audience?’

Anna Tipton was born and raised in Northwest Indiana. Since studying Creative Writing at the University of St Andrews, she’s regularly contributed to Top Learning’s English language curriculum based in Beijing. Her interests have to do with “otherness” and the real verses the perceived self. Her writing explores the issues and questions of personhood, ethnicity, the body, and home.

Annabel Taylor-Munt graduated from Goldsmiths University of London in 2018, her work investigates hyper-masculine spaces and their positions in society, re-interpreting these environments by abstracting and reconfiguring how they are engaged with to create new forms and interaction through choreography, film and performance. Through taking movements directly from these environments and open public dialogues her work examines our expectations of hyper masculine and feminine human body through history, media and art. Shows include Parallel Architecture IIIII Index programme, Yorkshire Sculpture International at Bridewell Prison Leeds Town Hall 2019, Tender Balance 2019, Leeds International Festival, Mod Copeland gallery 2018, upcoming Along the plane Leeds Inspired 2019.

I make experimental moving-image. This is the collision of many things: drawing, film, photography, sequence, sound, rhythm, time, editing, movement, projection, spatial installation – in infinite combinations – everything in a state of flux. I use these tools as a barometer to document locations undergoing change and explore the intersection between social and geographic place. I develop site-responsive film-making approaches devising new ways of looking and capturing. Inventive and ad-hoc uses of the camera are informed by the physicality of place – helping to extract the experiential, subjective and conditional aspects of location.

Previous projects have been shown/commissioned by Camden Arts Centre, South London Gallery, Venice Architecture Bienalle (collaboration with Assemble), Focal Point Gallery, V&A, MK Gallery, No-Mu, Japan, IndieLisboa, Portugal, Encounters Film Festival, Edinburgh Film Festival and Holland Animation and Film Festival.

I like lampposts, and things communicating, and sociological complications. I like scheming doorstops, societal tensions, disinformation, non-fictions, autonomous shower hoses, the anti-anthropocentric and things where they don’t belong. I like inactivity, inaccessibility, fences, domestic theatre and micro-misalignment. I like things that perform without anybody watching, and what happens if we are made to notice. I like neighbourhood watch signs, I like words, and I like first person narratives. Look closely. Look really closely. And keep looking.

MFA: The Glasgow School of Art (2018). BA: University of Leeds (2012)
CV and work: www.iamdannewton.com
Instagram: iamdannewton

Dr Oonagh Murphy is Lecturer in Arts Management at Goldsmiths, University of London. As an arts manager, writer and lecturer her research has taken her around the world to explore international best practice on the scalability of emerging technologies for cultural organisations.

Oonagh is Principal Investigator and cofounder of the Museums + AI Network, which is funded through an AHRC Network Grant. The Network was established in 2019 with Pratt Institute (New York), National Gallery (London) and the Metropolitan Museum of Art (New York).

Alongside writing for The Guardian, Arts Professional and the Museums Journal she has presented at key international conferences including Museums and The Web (Portland, OR), and Museum Next (Amsterdam). She is a Winston Churchill Memorial Trust Fellow and a Fellow of the Higher Education academy.

Eric Dickson (b1975 Los Angeles) is an installation artist, writer, and researcher who teaches politics and psychology at New York University. Originally trained as a theoretical physicist, his academic work explores the strategic and psychological foundations of identity and power in contemporary societies. His artistic practice probes related questions and explores the frontier between storytelling and installation art through interactive audio installations that embrace literary, technical, and site-specific challenges. His recent work has broadcast fragmentary tales of an epic overland journey from antique wardrobes dispersed around a square mile of Nevada desert; scattered monologues from an uncertain collapse, ambiguously describing the end of a relationship or the fall of a republic, around an abandoned military base; and developed a unique soundscape blending first-person narrations of dreams with scripted stories constructed from recycled dream elements. www.ericdickson.net

Freya Johnson Ross is an artist and researcher working primarily with sound and installation. Her interests are focused on sound and listening across disciplines, knowledge production and understanding, and equality, and she strives through her practice to invoke people’s reflection on the intangible and their own perceptions. Her current work addresses the politics of listening and the making and re-purposing of sound archives. London based, though originally from Glasgow, she works at UCL, and has degrees from the University of Cambridge, Wimbledon College of Art, and the University of Sussex.

www.freyajohnsonross.com

Josh Blackwell is an artist and teacher. Their work has been exhibited in venues such as the Museum of Arts and Design, New York, the Mackintosh Museum at the Glasgow School of Art, and MoMA PS1 in New York. Recently their work is included in Vitamin T: Threads + Textiles in Contemporary Art, published by Phaidon Press in 2019.

Blackwell’s works are called Neveruses (never·uses). Neveruses are hybrid painting-objects comprised of recovered plastic bags and colored fibers such as wool yarn, silk thread, and patterned cloth. They invert painting conventions by disordering the traditional protocols of form, use, and meaning through exhibition and performance. Blackwell’s honors and awards include a grant from the Pollock-Krasner Foundation, and fellowships from the Josef and Anni Albers Foundation, ZKU Berlin, Santa Fe Art Institute, the Delfina Studio Trust in London, and the Corporation of Yaddo. Blackwell is a member of the visual arts faculty at Bennington College in Vermont and is represented by Kate MacGarry, London.

Maitreyi is a curator and Programme Director at the Zabludowicz Collection in London, where she was initially initially responsible for the public programme of live events and educational initiatives. Since 2014 she has overseen the programme of exhibitions, residencies and events across all locations, curating the Annual Commission solo shows. As a curator, her focus has been on examining the impact of new technologies on lived experience, and has recently been working extensively with VR.

She previously worked on the Interaction programme at Artangel and the Youth programme at Tate Modern. She has a degree in History of Art from Edinburgh University and a research masters in Humanities and Cultural Studies from the London Consortium, Birkbeck College.

Chloe Preece is a Senior Lecturer in Marketing at Royal Holloway, University of London. Her research focuses on marketing within the arts and creative industries. To date this has focused on production and consumption issues in the visual arts and how this translates into social, cultural and economic value. She is currently a member of the StoryFutures research team examining audience responses to immersive story experiences. She is also chair of the Arts, Heritage and Non-profit and Social Marketing Special Interest Group of the Academy of Marketing and is on the editorial board of Arts and the Market.

storyfutures.com/audience-insight

Colette Sadler trained in Classical Ballet followed by completing a BA (Hons) at the Laban centre, London. She worked Internationally as a dancer until 2002. Sadler’s performance works have been shown in numerous contexts Internationally including at Performatik festival Kaai theatre Brussels, South Bank Centre London, TRAMWAY, Nottingham Contemporary (alongside the British Art Show) and Dusseldorf Visual arts Quadriennale. In 2016 she curated the multi-disciplinary arts symposium “Fictional Matters” at CCA Glasgow, a second edition Present futures will take place in June. Her work for SDT RITUALIA  will tour the UK and Latin America in 2019.  www.colettesadler.com  www.presentfutures.org

Marie-Therese Luger is a curator and researcher. Her practice is framed as a critical inquiry into the reproduction of semi-political power structures through artistic practice as well as art´s unique potential of challenging these power structures while being ultimately immersed within them. Led by this her work focuses on the critical analysis of museums, galleries and art spaces as institutions. These inquiries take the physical form of curated exhibitions, installation and writing/talking, preferably in collaborative settings.

Merrill Shatzman is a printmaker residing in Durham, North Carolina. Through her woodblock prints and drawings she makes meticulous prints that abstractly describe urban landscapes through shapes, grids and patterns. Grids play a predominant role in her work, emphasizing how architecture, urban planning, weaving, cartography and typography influence her imagery. Using multiple stencils to construct her complex woodcut prints, she delineates shapes and isolates carved, calligraphic marks that are converted into symbols and units. She continues to explore different uses of stencils through photography, accentuating the structures through patterning and shadows. Her work as printmaker includes relief, silkscreen, digital imaging, laser fabrications and laser etchings, installation, and artist’s books. A Professor Emerita of the Practice of Visual Art at Duke University, she received a BFA from the Rhode Island School of Design (1978) and a MFA from the University of Wisconsin-Madison (1981).

www.merrillshatzman.com

Mikko Gaestel (Hamburg 1982) is a visual artist and filmmaker living in Berlin. He studied at University of the Arts Berlin and Iceland Academy of the Arts Reykjavik, finishing with a Meisterschüler degree. His works have been exhibited at institutions including Goethe Institute New York, Bremerhaven Art Museum, Museum of Contemporary Art Helsinki, Future Gallery Berlin and Dumbo Arts Center New York. His documentary feature debut »The Great Fortune« won the Grand Prize at Belgrade Documentary Film Festival 2016.

www.mikkogaestel.com

Nabin Kumar Chhetri  is a poet and a writer based in Aberdeen. He graduated with a Masters in Creative Writing from Oxford University and an M.Litt in the Novel from the University of Aberdeen. He will be working on the revision of his novel in progress entitled, ‘The Red Moon Trails.’ The first two chapters of the novel were later shortlisted for the Charles Pick Fellowship Award at the University of East Anglia have conducted various Creative Writing Workshops for children and adult alike.
Profile at the Scottish Book Trust www.scottishbooktrust.com/profile-author/122275
Further information can be had at www.nabinkchhetri.com

Shannon Quinn is a poet living in Toronto, Canada. She is the author of two collections: Nightlight for Children of Insomniacs (Mansfield Press) and Questions for Wolf (Thistledown Press). She is currently working on poetry cycles that investigate how we engage with hierarchical structures along with exploring themes of equanimity and impermanence.

More about Shannon and her work can be found at shannonquinnpoetry.com

Sighle Bhreathnach-Cashell (b. Belfast 1985) is a visual artist specialising in interactive installation. Her focus is on how fantasy cities are created by urban planning and how this affects our sense of identity.

She has a BA in Environmental Art from the Glasgow School of Art and a MFA from the Piet Zwart Institute in Rotterdam. She organised and created works for large scale art events including ‘PROCEDURE’ (Belfast 2011) and ‘GAMES NIGHT!’ (Glasgow 2012). She is a Co-Director of ‘Household’ a collective who are currently programming in Sailortown, Belfast. Sighle is a studio member of Array Studios.

Siôn Parkinson is an artist and singer living in Dundee. Often appearing in costume to invoke the voice of an animal, Siôn’s vocal works confront themes of humour, love, the grotesque, and human and non-human bodies. He often works with other artists, musicians and community choirs to create absurdist musical performances, which he presents in venues including: Cafe Oto, Chisenhale Gallery, ICA (London), CCA (Glasgow), Cooper Gallery (Dundee), ChertLünde (Berlin), and SixtyEight Art Institute (Copenhagen).

Siôn studied sculpture at Central Saint Martins and The Slade. He is currently undertaking a practise-based PhD at University of Leeds exploring a cappella singing and contemporary art performance. He was recently awarded a Jerwood Bursary in 2019 to explore and embody classical techniques in falsetto singing.

Allan Whyte is a Glaswegian artist who predominantly works in sculpture and sound. After graduating from Glasgow School of Art with a masters in Sound for the Moving Image, Allan has balanced his own practice with an involvement in community arts. Allan’s first solo show was a sculptural installation which used materials salvaged from the Mackintosh Building at GSA. He has also exhibited at the Lighthouse, Transmission, the Artschool and sound work has been broadcast on Radiophrenia, Borealis Festival (Norway), Wave Farm (USA) and Resonance FM (UK). The artist has a particular interest in phenomenology and the materials that form the physical and emotional boundaries in our lives.

Place and environment offer the impetus for much of Emily Furneaux’s work; a cinema, an “un-discovered” island, a disused nuclear testing ground. These are her playgrounds where she roams – using drawing, video, sculpture and installation to create new encounters and new narratives as she playfully weaves fiction with fact. Furneaux studied Critical Fine Art Practice at Brighton University, relocating to Glasgow almost ten years ago. Her work has been shown in exhibitions and screenings at venues including, The Telfer Gallery, Glasgow; MK Gallery, Milton Keynes; Green Ray, London; Five Years, London; CAC, Vilnius, Lithuania; WASPS Hanson Street, Glasgow.

cargocollective.com/emilyfurneaux

Holly Argent is an artist based in Newcastle upon Tyne. Through a research-led practice she brings together various materials, often looking for strategies to utilise the fragmentary nature of archives to tell and re-tell narratives of artistic legacies. She leads the project ‘Women Artists of the North East Library’, building a usable resource that contributes to the history of women artists working in the North East of England; existing as an archive, a body of research and public programme. She was included in The Everyday Political at CGP, London (2018), and was recipient of the Luby’s Legs Artist Bursary (2017-18) and the Forshaw Rome Residency from Newcastle University at The British School at Rome (2017).

Much of Lizzie Watts’ work explores a fantastical and embodied engagement with the natural world. Attracted by cartoons and their ability to explore bodiliness, abjection and disgust, Watts utilises kitschy and, at times, grotesque sensibilities to create what she calls ‘ecologies of intimate objects’. Watts’ work borrows imagery and ideas from archaeological and scientific discoveries to explore the messy intermingling of human and non-human timescales. Ideas about these relationships are manifested in Watts’ work not through linear narratives, but instead in sculptural debris, fascinating objects, and in films and animations which focus upon isolated and enchanting behaviours.

www.lizziewatts.info

Ruby de Vos studied English Literature and Cultural Analysis at the University of Amsterdam, The Netherlands. She is currently writing her dissertation on the embodied temporalities of toxicity in contemporary art and literature at the University of Groningen. Her creative non-fiction addresses similar topics, aiming to find more personal and less linear approaches to the material. De Vos was one of the managing editors for art journal Kunstlicht’s “Nuclear Aesthetics” issue (2018) and is a writer for Kunstspot, a platform for visual art in Groningen.