Liberty Hodes is an artist and facilitator based in Newcastle upon Tyne, where they are a studio holder at The NewBridge Project. Working across performance, video, writing and socially engaged practice, their work often employs humour to explore the relationships between place, identity and the body.

Their practice is interested in bringing a sense of ancientness into contemporary life, drawing unexpected connections between stone circles, tower blocks and everyday urban structures. Recent work has explored demolition, regeneration and queerness through an ongoing series of performances and performance-to-camera works titled Demolition Bodies, involving the destruction of cardboard replicas of North East landmarks.

Born and based in the North East of England, Liberty graduated with an MA in Performance Making from Goldsmiths, University of London, in 2021, following a BA in Fine Art from Chelsea College of Arts in 2015. They have also participated in The NewBridge Project's alternative education programme, The Collective Studio. In 2022, alongside a fellow studio member, they co-founded NeighbourHood Watch, a monthly screening programme dedicated to video and digital moving image, creating a space for artists and filmmakers to share work outside the context of social media.

A number of short performances brought together in a kind of one-man variety show, revisiting older works that are featured in Holden’s new book, Weight of Imagination. A Duchamp-ian style suitcase of small, travel-size versions of previous performances. The performance will be around 30 minutes followed by a short Q&A with Book Editor, Rebecca Morrill from HENI publishing. This event marks the release of Andy Holden’s new monograph, Weight of Imagination, published by HENI. Signed copies of the book will be available at a special discounted price.

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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. 

Chris Dobrowolski graduated from the Royal College of Art in 1996 and has since worked as a visiting lecturer at numerous art colleges, mainly in the UK but also internationally. He has a broad artistic practice, working primarily as a fine art maker, often combining visual art with performance. He has been represented by a number of producers, including ArtsAdmin in London.

In 2009, Dobrowolski was artist in residence with the British Antarctic Survey, spending three and a half months in Antarctica. During this time, he created a sledge made from gold picture frames. In 2017, he was commissioned to produce a site-specific artwork for Hull UK City of Culture, titled Washed Up Car-go. Dobrowolski has presented several solo exhibitions, including at Ferens Art Gallery in Hull in 2002. The exhibition featured a series of art vehicles under the collective title Landscape Seascape Skyscape Escape. One of these vehicles was a tank constructed from reproductions of paintings by John Constable. The work was later included in MAW in 2019.

Kate Stobbart works across video, sculpture and live events, drawing on everyday encounters, conversations and observations. Her work explores how communication is shaped by gesture, hesitation, repetition and omission – often highlighting moments when there is a mismatch between what is said and how it is said. Beginning with observed movements or overheard phrases, she uses familiar situations to reflect on the social and emotional complexities of everyday exchange.

An Attempt At Exhausting A Year's Worth of Overheard Mobile Phone Calls (2026) Over the course of a year, Stobbart collected fragments of mobile phone conversations overheard in streets, cafés, buses and public spaces. In this live reading-performance, these one-sided exchanges are respoken using the rhythms, pauses and intonations preserved in her notes. Separated from their original contexts, the fragments move between the ordinary and the intimate, forming an accumulation of voices that can be comic, unsettling, tender and heartbreaking. What begins as a collection of passing remarks gradually becomes a portrait of lives glimpsed only in part.

Hand Gesture Film (2018) In this silent film Stobbart isolates gestures accompanying everyday speech. Drawn from filmed one-to-one conversations and reconstructed through a score-like process, the work presents a sequence of hands and forearms moving through a silent vocabulary of communication. Detached from speech, the gestures become both expressive and ambiguous, revealing the extent to which meaning is carried through movement as much as language.

Simon Poulter has an established national profile as both an artist and curator. His recent work has included a series of large-scale commissions working with Minity, as part of the University of East Anglia's Future and Form program. In 2019, he worked on a large-scale Heritage Fund project in Finsbury Park, London. This involved partnerships with the Museum of London, 2NQ and the Friends of Finsbury Park. The project consisted of an exhibition, new research and LIDAR scans of the park.

Poulter’s current focus is on two long-range projects, called the ‘New Normal’, which consists of a series of paintings and online works. ‘New Normal’ has branched out in a number of directions, with over 100 watercolours of the Ukraine war. Poulter started pulling imagery from Reddit groups with ex - military people discussing the conflict videos. Poulter started pulling imagery back from these videos and also adapting paintings from this. A key part of this project is to convey that Poulter intends to slow things down and translate these digital feeds into a physical medium such as watercolour. Also, in the last three years, Simon has taught MA students at the University of Huddersfield, focusing on creative industries.

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This site-specific installation configures a raw industrial warehouse space using an array of suspended, projection-mapped spheres to create an ever-changing, audio-visual, immersive walk-in environment exploring three different journeys. The visuals move away from the usual organic and transcendental work of Adrena Adrena, instead responding directly to the venue by taking on a heavy, industrial, and dystopian aesthetic. The piece responds to sound with an ever-changing, audio-reactive visual horizon of mapped objects. This layout gives the audience a walk-through experience that shifts as they move through the space, encountering the installation from different angles and listening positions. While the visual component remains constant, the acoustic environment shifts via a rotating soundtrack consisting of three distinct musical compositions. These separate scores were created for the project by experimental musicians E-Da Kazuhisa, Akihide Monna, and Koichi Yamanoha. Played in sequence over the course of the weekend, each composition alters the context and perception of the single visual environment, presenting three different perspectives on the same spatial work