McKay is preoccupied with the ways public space is made and unmade. Their practice is informed by feminist, queer and crip frameworks for understanding, and overcoming the way power constructs space. Her work seeks through the reuse of municipal materials to reposition typically structured authoritarian frameworks. 

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

Sport and outdoor pursuits are bent and recoded, rewriting social norms revealing performances

of tenderness and violence. 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.

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 relationship with technology.

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.

Gratrix moves along the line of formal structure, architectures, systems and materials and ‘frolic’ as a necessary counterpart, embracing queerness, joy, mischief, and care. The tension or oscillation between these states is a reminder that serious work can still hold play, and that play can still hold purpose. The works make room for multiple readings simultaneously, and trust the viewer to find their own way in.