Exhibiting Artists 2026

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Exhibiting Artists 2026 +

  • Bobby Benjamin is a Teesside-based artist working across expanded-field painting and installation. Drawing on council estate iconography and lived

    Bobby Benjamin is a Teesside-based artist working across expanded-field painting and installation. Drawing on council estate iconography and lived experience of poverty, his work positions working-class life not as subject matter, but as authorship. Using found materials and spatial interventions, Benjamin develops recurring motifs that sit between tension and play, where fragility and resilience coexist. His practice interrogates inequality, industry voyeurism and cultural hegemony, often from within the very conditions those structures seek to frame. Alongside his studio practice, Benjamin has founded and led artist-led spaces including The House of Blah Blah and Pineapple Black, and is currently director of the community art project Spag North. His work is held in the Middlesbrough Collection at Middlesbrough Institute of Modern Art, and he has served as a part-time lecturer at Teesside University.

  • Chloe Stevenson (KingCharlie) is a multidisciplinary artist who graduated from Teesside University in 2026 and works within the Teesside region. Her work subverts our idea of value. By taking small, commonly discarded items from low-income areas and transforming them into human sized sculptures, or by painting intricate urban landscapes directly onto them, she imposes a value and gives these invisible objects a sense of power and influence. Mixing lived experience with nostalgia and satire, Chloe’s work demands attention and sparks conversation.

    Her work has been shown in C.H.A.V (2026), a solo show at The Zoo Middlesbrough CIC- an organisation where she is also the Co-Directors and Founder. She has also featured in a range of group shows, the most notable include MIMA’s ‘Art + Social’ (2025), HolyArt Galleries ‘Future Stars’ (2025) and Glasgow Gallery of Photography’s ‘Diptych/ Triptych’ (2026). She has also been a recipient of the Marston Scholarship from 2023-2026.

  • Kathryn Lunt is a multimedia artist based in Newcastle. She has a special interest in soft sculpture, installation and world building. Her work is humorous, absurd and creates a playful subversion of the ordinary. Pulling from narratives in her own life, she creates fantastical sculptures and installations that encompass the viewer, bringing them into the world of her imagination. A mixed media approach allows her to express multiple narratives and bring together ideas into one work. Textiles play a significant role in bridging the gap between artwork and viewer in Kathryn’s work. Their mundane familiarity and softness give an approachable, tactile quality that often invites interaction into more bizarre elements of her work. Setting up the textiles forum during her degree in Fine Art from Newcastle University, she has taught sessions and cultivated an interest for textile arts and materiality in the department. 

  • Rachel Deakin is an artist based in Middlesbrough whose practice draws inspiration from her immediate surroundings. Working across photography, moving image, collage, and elements of the everyday, she explores the subtle intersections between landscape and memory.

    Through paired photographic works, Rachel captures layered narratives embedded within post-industrial environments. Her work reflects on environmental fragility and the quiet persistence of change, inviting viewers to consider how we structure the landscape.

    In 2025 she was the recipient of an Arts Council England DYCP grant and was selected for the AA2A residency at Sunderland University. Her work was recently included in the exhibition The Secret Lives of Bottle of Notes at MIMA, Middlesbrough Institute of Modern Art, as part of a collaboration with sound artist Nell Catchpole. Her solo exhibition, A Monday Night in Middlesbrough which opened in January 2025 before travelling to Village Books, Manchester in March. Her latest work will be included in Relay [1] opening November 2025 at GLOAM Gallery Sheffield, with a limited print edition to coincide with the exhibition released by hardcopy*.

  • Izzie Beirne (b.1996) is a UK, London based artist from Newcastle Upon Tyne. Beirne studied her BA (Hons) Fine Art at Leeds Arts University (2019) and her MFA in Fine Art from Goldsmiths University in London (2023). Beirne was recipient of The Almacantar Award and studio residency (2023) and has been shortlisted for several other awards including the

    Mosaic Award (2025), Robert Walters Prize (2023) and Acme Award (2023). Beirne has exhibited in the UK and internationally with galleries including The Second Act Gallery, Guts Gallery, Twilight Contemporary, OHSH projects and Plan X gallery.

     

    Beirne primarily works with painting, but has also presented works in ceramics, sound and film. Film is deeply rooted in the process of Beirne’s practice, through her manipulation of cinematic imagery. Recent work takes reference from the The Cook, the Thief, His Wife and Her Lover (1989) by Peter Greenaway. Beirne utilises the film’s graphic, violent plot to work through feminist themes of sexual violence, societal ills and imbalances of power.

     

    Bodies when painted are sliced and cropped, leaving frenzied hands and ghostly figures sweeping across the canvas. Beirne views this series of paintings as a way to build narrative, each piece adding to the larger puzzle at play. Depicted are the remnants of social settings; glasses discarded, doors left ajar with darkness beckoning and alluding to tropes in horror. Beirne’s painting technique plays into these narratives, using heavily blurred paint to create a dreamlike, nightmarish state. This distortion brings the paintings full circle, creating a painted lens through which scenes are viewed, harking back to the medium of cinema from which the paintings take reference.

  • Katie Schwab works with textiles, furniture and moving image within a practice that spans exhibition making, workshops community projects and design commissions. She is interested in underrepresented histories of domestic and civic design and interweaves personal, social and craft-based histories, often drawing from marginalised and overlooked traditions of living, making and working collectively. Working frequently in collaborative and context-responsive ways, Schwab’s projects typically grow through extensive archival research and corresponding active learning within the spheres of craft production. Influenced by design-based thinking and socially engaged practices, her projects make visible their material compositions and modes of production, foregrounding the people and processes involved in shaping new bodies of work.

    Following a very intense period of production and exhibition making, this residency will allow the artist to reflect on recent projects and develop research initiated in 2019 into family histories of German Jewish textile manufacturing, the woven murals of emigré designer Hans Tisdall and the Cryséde textile factory in St. Ives. Being based at Cove Park will also allow Schwab to explore archival material on Tisdall held at the Scottish National Gallery of Modern Art.

  • From the shadows to the stage, Headless Horseman's musical efforts are meticulously executed without compromise. The eponymous Headless releases sum up the modus operandi of this artist: dark, raw and rhythmic IDM flavoured Techno. His hardware only live sets at Berghain, Berlin Atonal, Boiler Room and worldwide have showcased the Horseman’s insurmountable skills as a producer and cemented his place in todays techno scene.

  • Heavily influenced by the early 1990s rave culture, Tokyo-based DJ and organizer began his musical journey in the club scene before founding the improvisational psychedelic jam band AOA, with whom he released five albums.

    During this same pivotal era, he joined the legendary avant-garde band Boredoms as a drummer, contributing to their seminal albums Super æ and Vision Creation Newsun, and taking part in their landmark 1999 US tour.

    Relocating to the UK in 2002, he immersed himself in the local scene through various improvisational projects. In 2006, he joined the iconic Warp Records act Seefeel, performing on their acclaimed 2011 self-titled album. His UK chapter also saw the birth of Adrena Adrena in 2016, a collaborative audio-visual live project with visual artist Daisy Dickinson.

    Returning to Japan in 2019, he continues to push sonic boundaries. In 2020, he launched Jantokoi, a project blending Japanese folk music (Minyo) with electronic dance music. He is also the driving force behind Su-Jam in Kyoto, a large-scale collective jam session performance that bridges improvisation and dance culture.

  • Charlie Murphy has established an interdisciplinary art practice spanning sculptural installation, digital media, performance and live events across arts, science, public health, museum and community contexts. Using glass, light, sculpture, photography, performance and video, Murphy creates works that explore our bodies, health and relationships. Widely known for her touring 'kiss-in' events, Her projects often involve participation and collaboration, using artistic and material processes to investigate intimacy, desire and human experience. 

    Murphy’s work has been widely presented including at Barnsley Museums (2022-3), The Lowry (2019-20), Royal Festival Hall (2018), Wellcome Collection, (2011); Tate Modern (2008); New Forest Pavilion (Venice Biennale, 2003) and ArtSway, (2003). 

    Murphy was co-director and visual arts lead for Created Out of Mind at Wellcome Collection, London, (2016-18). With a remit to deepen public understanding of the research around and impacts of dementias, this major interdisciplinary residency brought together visual artists, writers, musicians, scientists and people living with rare forms of dementias. 

  • Kerry Baldry works across a range of media, including film and video. Based in her studio in North Wales, her practice moves between several disciplines. Her recent work has been influenced by living and working on rewilded farmland in Snowdonia. Her films are held in the archives of the British Film Institute, The Lux and British Artists’ Film & Video Study Collection and her work has been shown widely at international festivals and galleries such as Rotterdam Film Festival, BBC2’s The Late Show, the Institute of Contemporary Arts (ICA), LUX, the Venice Biennale, Cross Lane Projects, the Museo de Arte Contemporáneo de Oaxaca in Mexico, Haus Gallery Tallinn Art Week, Estonia She also compiles/curates and distributes a self initiated project titled One Minute - (12 programmes to date) of artists moving image and organised screenings world wide - they are currently being screened as a retrospective at Close-Up Film Centre, London.

  • Erin Dickson is a sculptor. She initially studied Architecture at the Architectural Association in London and later went on to complete both her MA and PhD at the University of Sunderland. Dickson’s work has been exhibited internationally, including at Glasstress, The National glass centre, The Baltic Centre for Contemporary Art and FACT in Liverpool. She has received international grants and awards including an Honorary Diploma from the Jutta Cuny Foundation, Germany, and a National Lottery Project Grant from Arts Council England. 

    Dickson explores tongue-in-cheek themes of ‘Britishness,’ particularly in relation to her birthplace in North East England. She works in the space between craft and digital manufacture, operating both physically and virtually to develop systems of correspondence. Through humour, her sculptures, videos, and installations deliberately soften provocative subject matter, including British class systems, AI bias, intimacy, community, and isolation.

  • Deb Covell is a British artist who redefines painting by treating paint as both surface and structure. Working with peeled, folded, suspended, and dissolved layers of acrylic paint, she creates sculptural and spatial works that engage gravity, materiality, and abstraction as lived, physical experience.

    Her work has been exhibited internationally, including Icons / Objects at the Mikhail Bulgakov Museum, Kyiv (alongside Kazimir Malevich); Altered States, a 50-foot immersive installation presented as part of her mid-career retrospective at Kirkleatham Museum, Teesside; Quicksilver at the Museum of Contemporary Art (MOCA), London; and The Expanded Plane at Helm Contemporary, New York. Her work is held in major public and private collections including the Middlesbrough Institute of Modern Art (MIMA), the Kyiv Non-Objective Art Collection (KNO), and the Foundation of Conceptual Art Germany.

    She is represented by Helm Contemporary in New York 

  • Daniel Carey is a painter-printmaker based in Middlesbrough. He develops work by responding to the atmospheric and spatial qualities of his everyday environments, encounters with second-hand imagery, and material practices of the past; all of which weave into his art. Built spaces like rooms, corridors, and courtyards recur in his work, as do natural spaces such as woodlands, fields and bodies of water; he is interested in how they can be transposed into pictorial imagery. Daniel takes these ideas into the practices of etching and egg tempera painting; drawn to the luminosity and slowness of both, he aims to encourage slow viewing and inspire contemplation through the work. He recently graduated from Teesside University with a degree in Fine Art and has exhibited in group shows at Assembly House Leeds, Redcar Contemporary and The Long Gallery in Tilford

  • Leoni Andrews Dingwall (LAD), an abstract representational artist based in Newcastle upon Tyne, draws inspiration from her own experiences of socioeconomic struggle, addiction, childhood trauma and growing up in a single-parent household. She dissects these memories and distorts them on her canvas, mirroring how she witnesses and experiences them years later. Through dimension, detail and occasionally typography, she translates this amalgamation of revealing truths for her audience to interpret. Leoni aims to create work that serves as a catalyst for those with similar backgrounds to know they are seen, understood and most importantly, no longer alone in their past. She’s also passionate about using contemporary art to champion social justice and community work, a topic that was a key focus of her recently completed Bachelor’s degree in Fine Arts.

  • Catherine Bertola is an artist, whose work involves creating site-specific installations, drawings and films that address the invisible histories of women, whose roles and contributions to society are overlooked and undervalued. The work gives voice to untold narratives, excavating the past to confront contemporary inequalities that women continue to face. Catherine is Senior Lecturer in Fine Art and Course Leader for BA Fine Art.

    Her work is led by research, out of which ideas emerge as connections are made between unearthed narratives, imagery, site and materials, as well as drawing from her own personal experience. Past work has often been precarious, with installations made from materials such as dust, disappearing almost as quickly as they were made; this temporality is an integral part of the work.

    Catherine has 25 years experience of working with internationally recognised commissioners and galleries such as; V&A, National Trust, Crafts Council, National Museum Wales, Government Art Collection, Leeds Museums and Galleries, Arts&Heritage and Museum of Arts & Design (New York).


  • Phil Gatenby (b. Stockton on Tees) completed the MA Fine Art course at Newcastle Polytechnic in 1990 and retired from his appointment as Head of Fine Art at Teesside University in 2014. Selected exhibitions include: Crossing Borders (installation) Felix the Gallery, Middlesbrough Art Weekender (2017), AIR Residency Exhibition, Das Spectrum, Utrecht, Netherlands (2016) White Noise, Installation, Circulation Recording Studios, Darlington (2001), Rivers Bed, Live-stock.ram/fm web-cast and radio project‚ ARC, Stockton on Tees (2000), Open Art, ‘Against’ acrylic paint and plastic text, Middlesbrough Art Gallery (1995), Open Art, ’Measured and Exposed‚’ digital print, Middlesbrough Art Gallery (1994), Northern Open, London Group, Royal College of Art (1984), Sunderland Arts Centre & Touring Exhibition, Sunderland (1983), London Group, South East London Art Gallery (1981), London Group, Camden Arts Centre (1977) and New Contemporaries, Royal Academy (1977).

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    Since retiring from my role as Head of Fine Art in the School of Arts & Media at Teesside University my primary interest remains the singular discipline of painting. With due consideration of the space permitted or denied to sustain its legitimacy I give attention to its advocacy and progression, particularly so in a post 1989 milieu.

    Starting out on a new painting idea begins with a ritually imposed tactic: the intent to avoid pictorial narrative, habitual semiotics and populist kitsch, sufficiently so to allow the fluidity of figure and ground to be convincingly stilled. The intrigue for me is all about the act of making and the materiality of paint, favoured for its capacity to be mutable, malleable and eventually yielding. Resolving a work is always about being settled with what the work is saying or doing when subject and object coalesce.

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  • Jeremy Deller (born 1966, London) is an English conceptual, video, and installation artist renowned for his socially engaged, collaborative, and political works. Instead of traditional painting or sculpting, Deller blurs the boundaries between art, activism, and everyday life. He frequently involves everyday people and specific communities to devalue the traditional artistic ego.

  • Emerging as Phase Fatale in 2014, Berlin-based DJ, producer and label owner, Hayden Payne is rewriting the discourse of Techno with his cross-pollination of gnarly basslines, sensual narratives and mind-control mechanics. Demonstrating his vision through an authentic, highly curated sonic-lens of techno, the New York native’s rhythmic excursions draw on his roots in the underground scenes of his respective cities as well as his reputable experience performing to dancefloors globally.

  • Akihide Monna a.k.a Monchan is a London / Japan based drummer, percussionist, composer

    and a member of Japanese alternative rock band BO NINGEN, established in London in 2007.

    Also a member of GAISTER alongside Italian soprano Olivia Salvadori and British composer Coby Sey, they released the 1st album from AD93 in 2024.

    Extensive performance experience at prestigious festivals, collaborating with diverse musicians and artists. Committed to continuous evolution and refinement of musical expression. 

  • Koichi Yamanoha is a London-based artist, singer-songwriter and record producer. Born in West

    Tokyo, his work spans songwriting and experimental composition, moving through electroacoustic

    forms and drawing on minimalism and futurist lyricism.

    Working under the solo project Grimm Grimm, Yamanoha has released a body of recordings and

    developed a distinctive musical language characterised by cyclical melodies, textural detail and a

    balance between intimacy and abstraction.

    His work is performed in both English and Japanese and has involved collaborations with artists

    and organisations including All Tomorrow’s Parties, Cafe OTO, Laetitia Sadier, Marta Salogni,

    Josephine Foster, Eiko Ishibashi, Lori Goldston, Daisy Dickinson, Bo Ningen and Klein. It has also

    extended into film and interactive media, including contributions to Hideo Kojima’s science fiction

    video game Death Stranding 2: On The Beach, in which he also appears in a cameo role

  • Anne Colvin works across film, installation, poetry and painting. A meeting point for ephemeral experiences, she stages presence, absence, and liminal place. Thinking about ecology, deep listening and mystical space. Often inflected with surreal tones these journeys are choreographed into forms of poetic and sculptural unity. Most recent exhibitions and screenings include Seconds fall from the sky, New York Film-Makers Cooperative (2026); Ghosts of all we’ve ever been, The Old School House, Redruth, Cornwall (2026); One Minute Volume Twelve, LÁ Art Museum, Hveragerdi, Iceland (2025); Photography as Specimen, Mills Art Museum, Oakland, California (2025). Anne’s work has also been exhibited in venues such as: SFMoMA, San Francisco; MASS MoCA, Massachusetts; Torrance Art Museum, CA; Berkeley Art Museum, CA; Gavin Brown’s Enterprise, New York; Spencer Brownstone Gallery, New York; Jancar Gallery, Los Angeles; Minsheng Art Museum, Shanghai; Modern Edinburgh Film School; GoMA, Glasgow; Cooper Gallery, Dundee; BALTIC, Newcastle; Maximillian Wolfgang Gallery, London; among many others. Recent published poetry includes Luigi Ten Co, Colorado; Hexentexte, Los Angeles, and is held in Finlay Artists’ Book Collection, DJCAD, Dundee.

  • Margaret Tait (1918–1999) was a Scottish film artist and poet. From 1950 to 1952 she studied film at the Centro Sperimentale di Cinematografia in Rome. Established Ancona Films in Edinburgh in the 1960s and over the following decades Tait made a series of films inspired by the Orcadian landscape and culture. All but three of her thirty two films were self financed. She wrote poetry and stories and produced several books including three books of poetry. Screenings include National Film Theatre, London; Berlin Film Festival, Centre for Contemporary Art, Warsaw; Arsenal Kino, Berlin); Pacific Film Archives, San Francisco; Knokke le Zoute, Delhi and Riga. Tait has been the subject of profiles on BBC and Channel Four. The feature length Blue Black Permanent, 1992 opened the Edinburgh International Film Festival.

  • Nel Hume is an artist based in North Yorkshire. Her practice explores feeling, memory and lived experience through paint, using colour and shape as a visual language for what words cannot always express. Guided by instinct and intuition, she embraces the uncertainty of the creative process, allowing emotion and personal experience to surface through the act of making. Through the layered process of painting, her work reveals both the physical act of creation and the emotional traces beneath it. Nel’s paintings invite viewers to slow down, reflect, and connect with the quiet complexity of human experience.

  • Working across the boundaries of print, moving image, sound and sculpture, Wilson’s

    practice explores the stretch of time between the industrial and post industrial; in particular

    the beginning of automation and how this is altering our relationships with technology. Using

    site visits as a catalyst to research, write and produce works she is fascinated by the human

    machine relationship of both ‘conductor’ and ‘orchestra’ and how these performative roles

    manifest themselves within both our natural and fabricated environments.

    Since graduating with an MA in Fine Art from the Royal College of Art, Wilson has exhibited

    nationally and internationally at institutions including the Taoxichuan Museum of Art (China),

    OGA (Rome), Parc de la Villette (Paris) and the Hockney Gallery (London). In 2019, she

    received the first digital commission for Art in Manufacturing as part of the National Festival

    of Making in partnership with Deco Publique, Super Slow Way and Arts Council England,

    culminating in the installation The Optical Mechanical.

    In 2020, she undertook a seven-month residency at Coachworks, co-commissioned by

    Turner Works and Ashford Borough Council, collaborating with Hitachi Rail Ltd to produce

    The Orchestrated Unconscious. This led to further Arts Council England funding to work

    with CNC Robotics, culminating in Within the Wake (2022), showcased at the National

    Festival of Making and featuring in Aesthetica’s Future Now anthology.

    Most recently, she created OF CONFLUENCE (2024), an immersive installation

    commissioned as part of the Turner Prize wraparound programme with Blackshed Gallery,

    The Talent Accelerator at De La Warr Pavilion, Eastbourne Alive and Rother District Council.

    Developed in collaboration with local communities, the work brought together sound,

    sculpture and moving image to explore the ecology of the tidal river.

    In 2025, Wilson curated and exhibited in a major exhibition titled Radical Pairings at the

    National Festival of Making, coinciding with the publication of a critical essay by Elizabeth

    Fullerton (Art Critic and Writer, The New York Times, Art Monthly). In the same year, her

    work was shortlisted for Bloomberg New Contemporaries and she exhibited as part of the

    Aesthetica Art Prize in York. She is also a recent recipient of the BBA Art Award, with work

    scheduled for presentation at BBA Gallery, Berlin and the Royal Birmingham Society of

    Artists in 2026.

  • Annabel McCourt is a UK-based international contemporary artist working across lens-based social realism, installation, public art, moving image, and architectural interventions. Her practice draws on fact, folklore, and legend, often combining dystopian themes with sharp, dark humour. Working frequently at a large, theatrical scale, her projects explore politics, power, and social behaviour through immersive and interactive forms.

    Photography remains central to McCourt’s practice, underpinning a multidisciplinary approach that moves fluidly between image-making, spatial installation, and audience participation. Her work often engages directly with contemporary social issues, using satire, spectacle, and participatory elements to question cultural narratives and collective responsibility.

    McCourt has exhibited internationally across the UK, Brazil, Australia, Senegal, and China. In 2022 she was artist-in-residence at Diversa Arte Cultura in São Paulo and also exhibited at Melbourne’s Midsumma Festival. Through an ambitious and provocative practice, she continues to create works that challenge audiences while blending political commentary with darkly playful visual language.

  • Morag Myerscough, artist, born and bred London, UK, known globally for creating immersive structural installations characterised by boldness, vibrant colours and belonging at the heart of every work. Morag’s installations have a profound impact on public spaces, transcending the limitations of traditional approaches. Her vibrant and invigorating works disrupt existing architectural lines, introducing irregular shapes and colours and words. These interventions transform the landscape and create an engaging environment that inspires and uplifts individuals. By championing community and public interaction, Morag's installations encourage dialogue, enhance social cohesion, and create a lasting impression on the spaces they inhabit. Morag’s approach to work is integrated and participatory, wherein she collaborates closely with communities to generate art that responds to their unique requirements. Her generous and participatory approach instills a sense of pride and belonging in people, creating a strong and meaningful narrative for the spaces she transforms to places. The core motivation behind her work is to bring people together, fostering joy, well-being, and a sense of community.

  • Alex Culshaw explores the unstable relationship between the cinematic record and lived experience, working across moving image, sound, and live performance. Through restaging, image degradation, and live narration, her work examines how personal and

    collective narratives are constructed, mediated, and retold.

    Alex's has exhibited at MEZZANINE London (2025); Whitechapel Gallery, London (2022);

    Aesthetica Short Film Festival (2021); Chicago Underground Film Festival (2020); and

    Glasgow International Film Festival (2020). Alex holds an MA in Sculpture from Royal

    College of Art (2015–2017) and a BA in Art Practice from Goldsmiths, University

    (2009–2012). Alex is based in London and is from North Yorkshire.

  • KA Bird (b. 1992, Hartlepool) is a queer visual artist based in Newcastle, UK. Using digital media to inform her print-making and painting, her practice is about harnessing the processes and strategies of information circulation, investigating the human in technology, and the technological in the human within the all-out integration of internet and world.

  • It’s a no-nonsense affair with Wes Baggaley, the DJ cult favourite of raw rhythms and pulsating electronic bass.  The alchemy for Wes is vinyl, an obsession in collection for over 30 years. Born and raised in Wigan, he first set out with punk and grindcore records before the grip of electronic music tightened fast after discovering industrial groups like Throbbing Gristle and Cabaret Voltaire via his favourite band, Godflesh. The nineties club scene beckoned, and after cutting his teeth at legendary local venue The Pier he started travelling to clubs such as Manchester’s Bugged Out, Back to Basics in Leeds and Liverpool’s Voodoo where he’d regularly catch DJs such as Derrick Carter, Gemini, David Holmes and Jeff Mills; all the while continuing to attend his beloved punk gigs. Naturally what followed was DJing, a patient decades-long span of craft honing with an inimitable palette of sounds.  His sets are dark, deep and propulsive; a tight mix of rough house and brutal techno that covers the dungeon sonics of acid, EBM, industrial and new wave. That feeling from the dancefloor with Wes at the wheel is unparalleled, a sweat-drenched hysteria that encapsulates like no other. Acclaimed transmissions for Boiler Room, Mixmag’s The Lab and The Lot Radio plus a former residency on Rinse FM prove this, while regular appearances at festivals Glastonbury and Houghton plus clubs like FOLD, Berghain, Robert Johnson, Folklore in Lausanne, KALT in Strasbourg and beloved parties adonis and I Love Acid further the cause. 

  • Sarah Cooney (b.1982 Stockton-on-Tees, UK) received her MA in Painting from the Royal College of Art in 2008 where she was recipient of the Hugh Dunn Award from the Worshipful Company of Painter Stainers and a Greater London Area NAFADAS Bursary Award. Selected exhibitions include: Working Lives, MIMA, Middlesbrough

    Institute of Modern Art, Middlesbrough (2024); No Last Dance, NCA,

    Newcastle-upon-Tyne (2024); Gallery North, Newcastle- upon-Tyne

    (2023); From Gesture to Geometry, Platform A Gallery, Middlesbrough

    (2022); A Generous Space 2, The New Art Gallery, Walsall (2022); To the Studio, Gallery DODO, Brighton (2022); Your Foot in my Face (curated by Dan Howard-Birt), Kingsgate Project Space, London (2021); Creekside Open Selected by Brian Griffiths, APT Gallery, London

    (2018); Beep Painting Prize Exhibition, Swansea College of Arts (2018).

    In 2020 her painting ‘Evelina’ was acquired by MIMA, Middlesbrough Institute of Modern Art through the Tees Valley Response Collecting initiative. Her work has received recognition through various awards and nominations, such as being shortlisted for the Abbey Fellowship at the British School in Rome in 2011 and longlisted for the Contemporary British Painting Prize in 2021 and 2023. In 2024, she was shortlisted for a Tees Valley Artists of the Year Award and longlisted for the Beep Painting Biennial.

  • Jones is a sculpture and installation artist based in Newcastle. Their practice is informed by the aesthetics of museums and preserved sites of historical political significance. They are interested in the way objects in these spaces, such as flags, operate as functional components as well as symbols of authority. In their work Jones fabricates, distorts and manipulates these objects. They explore how these environments allow for a more immediate encounter, where meaning is constructed through proximity, atmosphere and experience. Choosing to make no distinct historical reference, Jones is instead curious in how the viewer moves through the space and what information they discern from it.

  • Matthew Roche is an artist based in Newcastle whose practice spans conceptual sculpture and process-based image making. Driven by what he notices and finds in life. Emphasising mystery, interpretation and the imagination needed to expand on art as a subjective subject, transcending the idea of object, aiming to push art theory to its absolute limits and breaking the rules of what art is.

    Matthews drawings are process pieces, made with oil pastels and small downward strokes, using painting techniques. Working mainly on fabric canvas and bookbinding muslin. He references his own photographs, images from magazines, photographers, and film stills, choosing images that are personal or that have interesting backgrounds and subject matter with pleasing pallets, compositions and details. Matthew has worked in collaboration with students from Leeds City College with artist Beth Shaperro in 2021-2022 at The Tetley. He also Graduated at Northumbria University in 2026.

  • Katie Tomlinson (b. 1996, Tees Valley) is a painter based in Manchester, represented by Brooke Benington, London. She holds an MA in Painting from the Royal College of Art, London (2021–2023), supported by the Basil H. Alkazzi Scholarship Award.

    Recent solo exhibitions include Fantasy Girls (2024) at Liminal Gallery, Margate; They Only Want You When You’re Seventeen (2024) at LKIF, Seoul; At Least Buy Me Dinner First (2023) at Brooke Benington, London; and Fight The Moon (2022) at Paradise Works, Manchester.

    Through a queer feminist lens, Katie Tomlinson’s paintings depict ambiguous narratives that interrogate heteronormativity, body politics and the exploitative paradigm in which feminine beauty is controlled.

  • Larry Achiampong's projects employ film; still imagery; aural and visual archives; live performance; objects; sound and game design to explore ideas surrounding class, gender, cross-cultural and digital identity.

    With works that examine his communal and personal heritage – in particular, the intersection between popular culture and the residues of colonisation, Achiampong crate-digs the vaults of history. These investigations examine constructions of ‘the self’ through the activity of splicing the audible and visual materials of personal and interpersonal archives, offering multiple perspectives that reveal the deeply entrenched inequalities in contemporary society.

  • Foundation Press are artists, designers and educators Adam Phillips and Deborah Bower.

    Founded in 2013 by Adam Phillips, Joe Woodhouse and Tom Madge as an experimental risograph printing studio, today, Foundation Press create publications, educational projects, collaborative artworks and graphic design.

    Rooted in the North-East of England, they specialise in devising initiatives, publications and resources that support people to explore creativity and storytelling. Please get in touch to discuss a commission, workshop or collaboration.

  • Some Techno.

  • Kate Stobbart is a Newcastle-based artist whose practice spans drawing, performance, installation and participatory work. Since graduating with a First Class BA in Fine Art from Newcastle University, followed by an MFA with Distinction and a practice-led PhD, they have developed a research-driven practice that explores the relationship between people, place and collective experience.

    Their work has been presented extensively across the UK and internationally, including exhibitions and projects at Nottingham Contemporary, Northern Gallery for Contemporary Art, The Public, Love Contemporary Art Centre (Tbilisi), Zendai Museum of Modern Art (Shanghai), and festivals in Sweden, Austria, Georgia, France and China. They have also exhibited widely across the North East, with recent presentations at The Late Shows, 36 Gallery, XL Gallery, The Bridge Gallery, and Newbridge Project, alongside a performance in Jeremy Deller's MLK1967 as part of Freedom City.

  • Sandra Lahire (1950-2001) “...was a central member of the feminist and experimental filmmaking community in London in the 1980s and 1990s. Lesbian, Jewish, feminist – Lahire was a proud queer activist in a troubled time of British history, Thatcher’s 1980s. From her first film to her last, Lahire was in sustained dialogue with the poetry and archive of Sylvia Plath. And like Sylvia Plath’s, hers is a body of work that is retrospectively overshadowed by her premature death aged 50. Her films have been shown nationally and internationally at cinemas and festivals including Creteil, Locarno, Berlin, Montreal, Sao Paolo, Turin, Jerusalem, Australia and the Philippines. Writings include Lesbians in Media Education published in Visibly Female (ed Hilary Robinson, Camden Press 1987) and articles for Undercut. She also wrote a musical score for Lis Rhodes’ film Just About Now”.

  • Alia is a British-Libyan artist based in Newcastle who composes her work through critical and personal exploration of politics and culture, focusing on her heritage through diasporic means. Sculpture, paintings and installation elements are reorganised and transformed in an organic manner as part of the artistic process.  Alia primarily uses hand-treated steel and  hand-manipulated paper to depict signifiers of her past through a contemporary lens.

     Alia’s work explores power dynamics that echo into personal relationships, with a focus on the history of Middle Eastern and North African region power structures. Themes of forced migration, exile and identity also converge her works.

  • Luke Beech is a multi-disciplinary artist whose work draws on the rituals and pressures of

    masculinity, treating inherited social forms as structures that can be bent, refigured and re-staged.

    Across sculpture, performance, video and editioned works, he develops an evolving language that

    returns to and extends earlier forms.

    His practice returns to charged materials and motifs - fishing imagery, pool chalk, hay nets, wrestling

    bodies, furniture and discarded prints - treating them as social codes to be handled, bent and

    re-scored. Sport and outdoor pursuits recur as stages where tenderness and violence sit side by

    side. From a queer position both inside and adjacent to masculinity, Beech isolates its gestures and

    rituals, allowing shifts in posture and balance to expose what they conceal.

    Recent works include Red Herring, a screenprinted edition on seaweed paper that reframes a trophy

    catch as a study in performance and desire, and Trial Proof, a suspended hay net filled with rejected

    prints that functions as a soft archive of labour and persistence. Earlier projects such as Winner

    Breaks First transformed the gallery into a queer snooker room, where altered furniture forms

    occupied the space as kneeling bodies and the rules of play were subtly undone.

    Across exhibitions and educational contexts, Beech approaches pedagogy as sculpture: organising,

    listening and holding space as materials in their own right. His work does not seek resolution. It

    stays with tension, building meaning over time through repetition, adjustment and care.

  • Mia Wilkinson (b. County Durham, UK) is a London-based artist working across painting and sculpture. Raised in a working-class, single-parent household in the North East of England, her practice explores the intersections of gender, class, labour and racial identity through the body and the domestic. Drawing on autobiography, art history and popular culture, Wilkinson creates densely layered paintings and sculptures where grotesque figuration, theatricality and humour disrupt inherited ideas of femininity, care and power. Working between London and the cultural influence of the North East, her titles frequently employ regional slang and double meanings, using wit to expose the contradictions embedded within domestic life and social expectation. Through excess, self-representation and psychological narrative, Wilkinson reclaims the domestic as a site of pleasure, resistance and transformation, challenging the social and art historical conventions that continue to shape who is seen, how they are represented, and whose stories are afforded cultural value.

  • Liaqat Rasul (b. 1974) is a gay, Welsh, dyslexic Pakistani artist based in London. Trained in fashion at the University of Derby, Rasul spent a formative year working and studying in New Delhi, India, before Liberty’s in Regent Street purchased his graduating collection. He went on to run his womenswear label, Ghulam Sakina, for ten years, before shifting into the visual arts in 2015. Working across collage, sculpture, and installation, Rasul has developed a distinctive practice centred on his mobile faces series, tactile assemblages made from everyday and found materials. His works are at once cartographic and personal, charting stories of mental health, multicultural identity, and community resilience. Emphasising the analogue and handmade, his practice embraces vulnerability as a strength, opening spaces for kindness, interdependence, and care.

  • Gee gathers stories like trinkets, building dioramas that explore memory, place, and belonging. Often depicting domestic spaces, these assimilate dollhouse rooms, yet stay devoid of figures, asking the viewer to lean in and interact inquisitively. She could call herself a sculptor, but world-builder has always felt more fitting.

    Stories shape the form of the worlds she builds. She meticulously creates using repurposed and low-budget materials; their fragility mirrors the passing of ordinary moments she seeks to hold onto. Space, materiality, light, and sound come together to construct subjective narratives, shaped by dialogue, field recordings, and lived experience.

  • Sum Place is a public art studio based in North Shields, led by artist Colin Davies and trainee art psychotherapist Nic Quinn. We create permanent, site-specific installations for civic, healthcare and regeneration environments, working nationally with architects, developers, local authorities and communities.

    Our work is shaped by place, history and local participation, drawing on industrial codes and geometric abstraction to make artworks that are bold, durable and rooted in the communities they belong to. We believe public art is a matter of public health: it can uplift, connect, and make a place feel like home.

  • A graduate of Central Saint Martins with a background in fashion design, Collingridge pushes textile techniques to sculptural extremes. Her figures are meticulously constructed through hand stitching layering fabric to evoke muscle, sinew, and flesh. At once humorous, grotesque, and tender, her creations exist in a world of their own—inviting viewers to engage with the human body in new, unexpected ways.

    Collingridge has exhibited and performed internationally, gaining recognition for her unique fusion of craft and sculpture. She was a Sarabande Foundation Artist in Residence from 2020 – 22.  She has exhibited widely including at TJ Boulting, British Textile Biennial, Bowes Museum and internationally at Textiel Museum, Tilberg, Netherlands, Boulder Museum of Contemporary Art, USA. She has performed at the V&A in London as well as at the Museum der Kulturen Basel, Switzerland and in Times Square Midnight Moments programme in New York. 

  • Kitty McKay is an artist and researcher eternally preoccupied with the ways in which public space is

    made and unmade. Working across installation, moving-image, sculpture, sound, collage and writing,

    their approach to practice is informed by feminist, queer and crip frameworks for understanding, and

    overcoming, the ways power constructs place. Their installations seek to evoke the errant, dissonant and

    unauthorised socialities and practices that happen in urban space through the dislocation of materials that

    comprise and enforce spatial hegemony.

    Kitty co-runs the socially engaged walking project, Incursions, which uses group walking to explore

    relationships between space, place and people. They also contribute to the More Than Meanwhile Spaces

    working group as a researcher, exploring longer-term futures for artist-led initiatives in the North East.

    Kitty received an MFA from Newcastle University in 2025. They completed their BA in Fine Art and

    History of Art at Goldsmiths University in 2018 and participated in School of the Damned, an artist-led

    alternative study programme, between 2020-2022. Kitty is an Associate Member at The NewBridge

    Project where they have worked in many different creative production roles having previously attended

    The Collective Studio in 2020. Kitty was selected for New Contemporaries in 2021, and they have

    exhibited at and programmed activity for BALTIC Centre For Contemporary Art, South London Gallery,

    ICA London, Farrell Centre, Firstsite Gallery, Vane, Middlesbrough Art Week and The NewBridge

    Project, amongst many others.

  • A conceptual and performance based artist whose work uses language and text to address cultural constructs of power, identity, and economic inequality. Ayscough relies on humour and rage to highlight major problems in our society. Much of Ayscough’s work is reactionary, often taking it’s inspiration from specific news items and cultural constructs. His work often relates to public protest and transmedia organising. This may take the form of direct messages such as posters, placards, social media posts etc and documentation of events that maybe self generated or alongside other mass protests, through the use of video and photography. The intention is to create a space concurrent with cross-platform activism.

  • Junior Durrani is a painter based in Eaglescliffe. Born in Peterborough and raised in Stockton-on-Tees, Junior later lived in Middlesbrough, where he studied English Literature at Teesside University. After completing a PGCE in Primary Education at Northumbria University, he worked as a primary school teacher for several years.

    Following the passing of his mother, Junior reconnected with his passion for painting and drawing, developing a practice rooted in memory, lived experience and close observation. His recent work explores intimacy, family life and the emotional complexity found within everyday relationships. Alongside his art practice, Junior works as a supply teacher across local schools while balancing studio time with family life.

  • Hollie and Kat work collaboratively across installation, making and speculative storytelling. Their practice uses humour, play and familiar cultural formats to explore how people understand the world around them. For SIDEQUEST, they have created The Pop-Up Cardboard Museum of Natural History from the Future: a handmade installation examining nature, climate, value and the stories institutions preserve. Their work invites audiences into imaginative, accessible encounters that make space for curiosity, conversation and questioning.

  • Sowerby is particularly interested in the abundance of material which deals with the explicitly corporal aspects of the self: spot popping, eating etc, and how these images are simultaneously repulsive and fascinating, communicating a paradoxical need for intimacy and distance.

  • It’s a no-nonsense affair with Wes Baggaley, the DJ cult favourite of raw rhythms and pulsating electronic bass.  The alchemy for Wes is vinyl, an obsession in collection for over 30 years. Born and raised in Wigan, he first set out with punk and grindcore records before the grip of electronic music tightened fast after discovering industrial groups like Throbbing Gristle and Cabaret Voltaire via his favourite band, Godflesh. The nineties club scene beckoned, and after cutting his teeth at legendary local venue The Pier he started travelling to clubs such as Manchester’s Bugged Out, Back to Basics in Leeds and Liverpool’s Voodoo where he’d regularly catch DJs such as Derrick Carter, Gemini, David Holmes and Jeff Mills; all the while continuing to attend his beloved punk gigs. Naturally what followed was DJing, a patient decades-long span of craft honing with an inimitable palette of sounds.  His sets are dark, deep and propulsive; a tight mix of rough house and brutal techno that covers the dungeon sonics of acid, EBM, industrial and new wave. That feeling from the dancefloor with Wes at the wheel is unparalleled, a sweat-drenched hysteria that encapsulates like no other. Acclaimed transmissions for Boiler Room, Mixmag’s The Lab and The Lot Radio plus a former residency on Rinse FM prove this, while regular appearances at festivals Glastonbury and Houghton plus clubs like FOLD, Berghain, Robert Johnson, Folklore in Lausanne, KALT in Strasbourg and beloved parties adonis and I Love Acid further the cause. 

  • Sue Loughlin is a visual artist based at The NewBridge Project, Newcastle. Her practice invites contemplation of the impact of political, ideological and socio-economic shifts upon female autonomy. The mental, physical and societal implications of motherhood are recurring themes within her work. In 2023, Sue founded MOTHEROTHER, an ongoing research, curatorial and social practice project for artist parents and carers. She was selected over two consecutive years for the AA2A artist residency at the University of Sunderland (2025 & 2026). Sue holds an MA Fine Art from the University of Sunderland (2018) and a BA Fine Art from the University of Newcastle upon Tyne (1996).

  • Eva Grinvalde is an artist from Latvia who is now based in Teesside. Her work is focused on exploring and showing her own migrant experience through painting and photography. The common theme that runs throughout her paintings are shadows and reflections, often of trees, gates, flags and fences. She uses these shadows as a reflective device for the concept she is working on at that moment. 

    Eva has received a degree in Fine Art concluded with a week long degree show exhibition and is moving on to do her MA in Art, Culture and Curation

  • Zilan Kuzu is a Newcastle based painter and a recent Fine Art graduate of Northumbria University. Her work explores diasporic identity, migration and belonging, shaped by her lived experience. Drawing on cultural motifs such as patterns from Anatolian rugs and other symbolic forms, her paintings reflect on ideas of home and protection. She works across several paintings at once, allowing each work to develop in relation to the others. Alongside her painting practice, Zilan has contributed to community-focused projects, including Baltic Centre for Contemporary Art's We All Came Here From Somewhere exhibition

  • Kerry Ann Chappell is a contemporary abstract artist based in the North East of England. Her work explores memory, emotion, and cycles of return through layered surfaces, colour, and recurring circular forms. Using texture, gesture, and physical mark-making, she creates paintings that hold traces of process and the body, offering open spaces for viewers to connect with their own experiences. Kerry approaches abstraction through an autoethnographic lens, drawing on lived experience to shape her visual language. Circular motifs appear throughout her work, referencing rupture, repair, and renewal. She recently graduated with a First Class BA (Hons) in Fine Art from the University of Sunderland and her work has been exhibited in the Sunderland Creatives Gallery at the Northern Gallery for Contemporary Art.

  • Lauren Godfrey (b. UK) is an artist based in London.
    Her work invites interaction and collaboration, often swerving close to furniture or the quasi-useful.
    In recent work, fountains and sundials – elemental clichés – meet post-modern silhouettes and pattern overload. There’s a suggested functionality and a whisper of a potential state shift, collaborating with surrounding elements and viewers alike.
    The work offers space to the viewer whether it be to take a meditative moment in the company of trickling water or an invitation to interact and respond.

  • Andy Holden’s work comprises of large installations, sculpture, painting, music, performance, animation, curating and multi-screen-videos. His work is often defined by very personal starting points used to arrive at more abstract philosophical questions. 

     

    As a teenager Holden wrote a manifesto for art titled, “Maximum Irony! Maximum Sincerity”, which can be seen to inform much of his subsequent work, and was the subject of a major exhibition at Zabludowicz Collection and Spike Island in 2013/4. For his first major exhibition ‘Art Now: Andy Holden’ at TATE Britain (2010), he exhibited Pyramid Piece, a vastly enlarged replica of a piece of stone he stole from the Great Pyramid at Giza as a boy, and due to increasing guilt, later returned. From 2011-2016 Holden worked on Laws of Motion in a Cartoon Landscape, a hour-long animated film which explored the idea that the world was now best understood as a cartoon. First shown at Glasgow International before touring to museums worldwide including 2017 Venice Biennale, the artist appeared in the film as a cartoon version of himself, interacting with a vast archive of clips from animation history to create a theory that the world was now best understood as a cartoon. The film was the subject of a solo exhibition at Perimeter, London in 2024. 

  • Bog Heartsease is a fine artist, printmaker and curator from London. His work explores his experiences with disability and queerness, while playing with high contrast imagery and designs. Bog blends traditional mediums with community as a mode of creation. He organised and curated the 2026 exhibition “From Our Ribs” focusing on the creative process of up and coming Sunderland based artists, and has graduated from Sunderland University with a first class honours BA in Fine Art.

  • Daisy Dickinson is a London-based director and visual artist working across moving image and live audiovisual performance. Her practice moves between experimental film, projected installation, and live immersive environments. She is half of audiovisual duo Adrena Adrena with drummer E-da Kazuhisa (Boredoms), as well as working on live AV shows with other artists including Samuel Kerridge, Surgeons Girl, Seefeel, Bo Ningen, Yuko Araki, Nik Colk Void, Nabihah Iqbal, Snapped Ankles, Toy, Speakers Corner Quartet, Grimm Grimm, Comet is Coming, Alabaster DePlume and Amaury Cambuzat, as well as short films with composers such as Simon Fisher Turner and Marta Salogni.Her films have been shown at festivals including BFI London Film Festival, London Short Film Festival, Raindance, Edinburgh International Film Festival, and Encounters, while her installation and performance work has appeared at venues such as the Barbican, Royal Festival Hall, the ICA, Cafe OTO, CERN in Geneva and festivals Berlin Atonal, Glastonbury, Supernormal, and Manchester International Festival plus tours across the UK, Europe, Japan, and Taiwan.

  • Julian Micallef is a multimedia artist and filmmaker, diverging work between Malta and the UK. Experimenting in analogue film processes, projection-performance and site-specific installation. Welding a narrative of situational encounter. Julian Micallef has exhibited work globally in Canada, London UK and Mumbai India. Screening film and moving image at international film festivals 'Kinemastic Int Short Film Festival' and 'WUFF Winnipeg underground Film Festival’. Most recently part of a group show at The Inquisitors Palace, Birgu Malta. Titled 'Moving With the Wind, Like Waves' curated by Elyse Tonna and commissioned by Bank of Valletta.


  • S. Pearl Sharp is an American artist, poet and activist whose works have screened in Norway, China, UK, the Caribbean and at FESPACO. S. Pearl Sharp’s work focuses on cultural arts, health and Black Diaspora history including the poetry short Back Inside Herself (1984 and 2009 Re-mix), the semi-animated Picking Tribes (1988), the celebrated The Healing Passage/Voices From The Water (2004) and directing numerous documentaries for the City of Los Angeles’ CH 35. Instigating through art and activism she authored the non-fiction books Black Women For Beginners and The Evening News, four volumes of poetry, and in 2021 she released the short poetry video Blood Bank.

  • Garth Gratrix is a contemporary artist based in the North of England whose practice explores queerness, space and materials; using self-imposed rules within a not-so-straight-line where the formal and frolicsome meet.

    Their work is held in permanent collections including the V&A, Contemporary Art Society and Grundy Art Gallery, and they have exhibited internationally and alongside artists inc. Derek Jarman, Felix Gonzalez-Torres, David Hockney, Helen Cammock, Rene Matic, and Lubaina Himid.


    They have guest curated a number of large scale exhibitions including WINK WINK, Whitaker Museum (2023) and UK New Artist of the Year £10k Art Prize, Saatchi Gallery (2019-2024)


    Alongside their artistic work, they are Founder and Director of Abingdon Studios, an artist-led organisation in Blackpool -supporting production, commissioning and cultural infrastructure for early and mid-career artists.

  • Sky Hopinka (Ho-Chunk Nation/Pechanga Band of Luiseño Indians) was born and raised in Ferndale, Washington and spent a number of years in Palm Springs and Riverside, California, Portland, Oregon, and Milwaukee, Wisconsin. In Portland he studied and taught chinuk wawa, a language indigenous to the Lower Columbia River Basin. His video, photo, and text work centers around personal positions of Indigenous homeland and landscape, designs of language as containers of culture expressed through personal, documentary, and non fiction forms of media.


    Hopinka’s films have played at various festivals including Sundance, Toronto International Film Festival, Ann Arbor, Courtisane Festival, Punto de Vista, and the New York Film Festival. His work was a part of the 2017 Whitney Biennial, the 2018 FRONT Triennial and Prospect.5 in 2021. He was a guest curator at the 2019 Whitney Biennial and participated in Cosmopolis #2 at the Centre Pompidou. He has had a solo exhibition at the Center for Curatorial Studies, Bard College, in 2020 and in 2022 at LUMA in Arles, France. Hopinka is the recipient of the Infinity Award in Art from the International Center and the Alpert Award for Film/Video and fellowships including The Radcliffe Institute for Advanced Study at Harvard University, Sundance Art of Nonfiction, Art Matters, The Guggenheim Foundation, and The Forge Project. In the fall of 2022, he received a MacArthur Fellowship for his work as a visual artist and filmmaker. Hopinka is currently an Assistant Professor of Film at Harvard University. 

  • Errol Theunissen is a self-taught painter and illustrator born in Zimbabwe but living and working in the UK. Through his art, Theunissen captures everyday experiences, memories, and interactions, many featuring his children at home and at play. His work centres around the beauty found within individual stories, brought to life with a vibrant colour palette. Often, his work offers glimpses into honest and frank personal moments, and these instances of individual intimacy serve as a vehicle for depicting universal stories and emotions. 

    His work has been exhibited at the Royal Academy and the Turner Gallery in Newcastle. Recently, his work was showcased in the ‘Fair Art Fair Curated I’ exhibition in London, and his painting ‘Forbidden Love’ was selected to appear at the Bankley Open in Manchester. 

  • Whippet Up is a creative health organisation using art, performance and collaboration to improve wellbeing across Teesside. Middlesbrough Reimagined brings together the work of 100 participants, exploring ideas of home, belonging and the future of their town. Developed through artist-led wellbeing sessions, the installation celebrates creativity, imagination and the power of making together. Every contribution reflects an individual perspective while forming part of a shared vision. The project demonstrates how creative practice can build confidence, connection and community, transforming personal experiences into an ambitious, joyful and bonkers in a good way public artwork.

  • Sawdust is a creative fabrication studio and placemaking organisation based in Teesside. We provide affordable access to equipment, space and technical knowledge, supporting artists, makers and communities to turn ideas into reality. Alongside our workshop programme, we deliver creative projects in public space, using fabrication and design to transform everyday environments. Working with partners and communities, we create playful interventions, public artworks and places for people to meet, explore and spend time.

  • A driving force in the techno scene since the mid-'90s, Oliver Ho originally made a name for himself alongside Regis, Surgeon, and James Ruskin as part of the new breed of British techno that drew inspiration from not only the techno scene but the rich heritage of industrial and post-punk music from the U.K. After numerous guises -- including Raudive, Birdland, and Zov Zov -- Ho looked back to those early influences with the start of his Broken English Club project. Debuting on the then-fledgling label Jealous God -- which had been set up by Silent Servant, Regis, and James Ruskin -- Ho's first EP, Jealous God #4, appeared in 2014 and saw him referencing the likes of Throbbing Gristle, D.A.F., and Psychic TV. A split follow-up with Silent Servant appeared a few months later as the Violence and Divinity EP, which appeared on Veronica Vasicka's Cititrax label. Buoyed by the success of the EPs, Ho returned to Cititrax with the release of Scars in 2015 and a fully fledged album, Suburban Hunting, a few months later. That same year, Ho took Broken English Club into a live setting with shows in Moscow and at Berlin's Berghain as part of Regis' Downwards showcase. 2016 saw Ho pushing his sound into more extreme territories with the release of the Myths of Steel and Concrete single on his own Death & Leisure label. At the beginning of 2017, he returned to Jealous God, offering up the 16th release on the label, which this time saw him embracing '80s new beat and EBM into his now-signature sound as Broken English Club. The sophomore album, The English Beach -- which appeared on L.I.E.S. -- was released a few months later. The album saw Ho bringing together the industrial and minimal wave elements of his earlier releases, while adding EBM and techno flavors to the mix.

  • Lucy Joyce (born in London) asks the viewer to look and then look again at their surroundings, reimagining and questioning what is possible through drawing, sculpture, actions and gestures often in public space. Drawing is an integral part of her work and where everything begins. Recent solo exhibitions include: The Black Dot, 2023, A Drawing for a Building, 2021 and Proposals + Props, 2017 at Somers Gallery, London;  Electric Blue at E-Werk Luckenwalde, Germany, 2019-20. In 2018 she was commissioned by Tate St Ives to make her site specific art work: I Becomes You, Becomes We, Becomes Us, involving over 200 local people on the coastline alongside a performance. Lucy has previously developed a series of public art commissions in towns around the UK and is currently developing a new work as a recipient of a 2020-21 Arts Council Project Grant and A-N Bursary Grant