Matthew MacKisack is a cultural historian and a Postdoctoral Research Fellow at the University of Exeter Medical School. He has published numerous articles in intellectual and cultural history, focusing on how imagining and imagination have been employed and understood.
Christopher Henshilwood holds a 10 year South Africa National Research Foundation funded Research Chair and Professorship at the University of the Witwatersrand, South Africa. He is also the Professor of African Prehistory in the Archaeology, History, Culture and Religion Institute at the University of Bergen, Norway.
Karen Loise van Niekerk is an archaeologist working on Middle Stone Age sites, specifically Blombos Cave and Klipdrift Shelter, in the southern Cape, South Africa.
“I am an emerging artist living in Cambridgeshire. Due to circumstances involving one of my children and a traumatic brain injury, I began my current practice as a way to cope with the neurological rehabilitation that has consumed family life. This experience feeds heavily into my artistic process.”
Katherine Gravett has worked in collaboration with neuroscientists in Cambridge and her work has been exhibited in artistic, scientific and therapeutic settings.
Simon Head is a typographer, a draughtsman and photographer.
His work as an artist combines these rigours; striking a balance between passivity and action; responding to time, image, and structure.
Artist and writer, Richard Bright, has addressed the relationship between art, science and consciousness for over 30 years. In his recent series of drawings he explores the impermanent and shifting process of time and waves.
Gabriele Neher is Assistant Professor of History of Art, University of Nottingham with an expertise in Northern Italian Renaissance painting. One of her research specialisms focuses on the cultural relationship of Italian provincial centres to their dominant political counterparts in the Renaissance period.
“I am interested in fragility and capturing the essence of beauty in the inconsequential, the fragile, the imperfect. For me this encapsulates something very human; our vulnerabilities and unescapable impermanence.”
Sophie Erin Cooper creates work exploring the intricacies in the natural world and intangible human experiences; such as memories, thought patterns and the passing of time. Her piece ‘A Split Second of Humanity (Phase Two)’ was selected for the Trinity Buoy Wharf Drawing Prize 2018 and is currently being exhibited on a national UK tour.
Joe Graham is a Lecturer in Drawing at Falmouth School of Art, Falmouth University. He is an artist who writes about drawing and conducts research through drawing using various propositions drawn from phenomenology and ontology. His interests revolve around understanding how drawing operates as both a vehicle for expression and a mode of thought.
“Drawing is a form of learning, by drawing something it changes how we look and how we relate to the thing we draw, it creates a deeper connection, an embodied experience beyond mere visual or cerebral knowledge. By giving form and a motor experience to it, the processes and functions of memory are altered. Drawing enables a different kind of knowing, anamnestic and forever stored as part of our DNA.”
Laura Hudson is a cross-media artist, writer and curator with a background in filmmaking and edible horticulture. In 2018 she was awarded the student prize at Trinity Buoy Wharf (formerly Jerwood) Drawing Prize, for her Nail House Drawings, and The Roger de Grey Drawing Prize.
Juliette Losq is an artist known for photo-realistic pieces which seem like a portal to another world. Her oil paintings and drawings, which include the intricate and intimate as well as large-scale works and installations, incorporate imagery from a range of diverse interests, which she fuses with her own photographs taken during explorations of overgrown and forgotten places, The result are drawings, composed of fragments from all these realities, that transport the viewer to the border between the urban world and the wilderness.