Elisa Kay is a curator living in Bristol. She is currently working with Somerset House, London as Research Curator. Prior to this she was Curator at Spike Island in Bristol, where she worked on exhibitions with artists including Andrea Luka Zimmerman, Roman Štětina and Sriwhana Spong, as well as Spike Island's public and artists' programmes. In 2008 she was the founder Director/Curator of Flat Time House Institute, the former home and studio of the artist John Latham. Here, over four years, she established a programme of exhibitions, events and research exploring the artist’s practice, his theoretical ideas and their continued relevance. Over the years, she has contributed texts to catalogues by artists including John Latham and Laure Prouvost and she has curated exhibitions at Lisson Gallery, Chelsea Space and Nottingham Castle Museum, where she was Contemporary Art Society Centenary Fellow. She is a member of the Bristol collective BEEF (Bristol Experimental and Expanded Film) and is currently expanding her ways of being a curator by writing more.

Ellen Wilkinson is a writer and artist living in London. Recent commissions and projects include: Sitting Show, East Bristol Contemporary (2019); IN DE EP, HER MIT Projects (2018); Sleeping in Public, Bristol Museum and Art Gallery (2017); and Something More Permanent Than Concrete, Bristol City Council (2017). Her writing has been published by FACT, Printmaking Today, This is Tomorrow and various artist-led initiatives. She works as Content Producer for a-n and in previous jobs has sold screwdrivers, soap, trombones and tickets, connected calls, washed up and read aloud. Written about trees, hospitals and prisoners, made mirrors, jokes and jewellery, photographed poets walking and a nude baker running. She has glued, cut, sanded, wrapped, coloured in, packed, poured, bound, rolled, recorded, pressed, punched, trimmed, assembled, stamped, shot and started again.

Jennifer Dudley is a Curator, Art Historian and PhD candidate at Coventry University. Within the third volume of yellowfields, she will explore women’s sculptural practices in Britain - which have generally been written from the perspective and prejudice of a patriarchal canon of art - to recognise the ongoing contribution of women to an ever-expanding field. She has previously held curatorial roles at National Museum Wales, Cardiff and Edgar Modern Fine Art, Bath. She gained her BA in History of Art from University of Bristol in 2013 and an MA in Curating from University of the West of England in 2016.

Libita Sibungu’s solo and collaborative projects explore the politics of the body and landscape in relation to migration, blackness, and colonialism. The work seeks to unearth lost, buried and hidden testimonies, to reimagine containers of memory and states of liberation emerging out of fugitive experiences. Performance, print, text and sound are often collaged together to express ways of mapping time - manifesting into staged; poetic, immersive and disruptive environments.

Duffin (lives and works in Bristol) is a visual artist whose works are predominantly sculptural in nature. She employs a process of speculative questioning that draws influence from varied disparate ideas and anecdotes within anthropology, literature, metaphysics and scientific history. She is interested in things that have a sense of self conscious autonomy and the potential to be generative agents.

Eleanor has exhibited both in her home country of Ireland and internationally, including; 2116:Forecast for the Future, Eli and Edythe Broad Art Museum, Michigan State University (2016), Foaming at the Mouth, Dublin (2016), The Wild, Project Arts Centre, Dublin (2016) Forms of Duality curated by Mary Cremin for Solstice Gallery, Navan (2016).

Abigail Reynolds lives in St Just, Cornwall, and has a studio at Porthmeor in St Ives. She studied English Literature at St Catherine's College Oxford University. Her interest in books & libraries prompts her collages and sculpture which are often composed of found photographs spliced to create fresh narratives. In March 2016 she was awarded the BMW Art Journey prize at Art Basel, to travel to lost libraries along the Silk Road. A book documenting this journey has been published by Hatje Cantz. She has work in the Government Art Collection, Yale University Art Gallery, New York Public Library and many private collections.

Olivia Jones (b. London, 1988) is a visual artist based at Spike Island and a member of Spike Print Studios. Working predominantly between sculptural and drawn processes she creates works that explore the behavioural characteristics and structural potential of materials, objects and phenomena within landscapes. Jones graduated with BA (Hons) Fine Art at Falmouth University (2013). She has shown her work in galleries across the UK and internationally. Projects include: Artist in Residence, School of Earth Sciences, University of Bristol (2018-19); Tephra: Order in the Dust, Test Space, Bristol (2018); Artist in Residence, Ashlantic, Fur Island, Denmark (2017); Contemporary British Drawing, Xi’an Academy of Fine Arts, China (2015); You Move Me, Antlers Gallery, Bristol (2015); Jerwood Drawing Prize, London (2013).

Olivia Bax (Singapore, 1988, lives and works in London). Bax studied at Byam Shaw School of Art, London (2010) and the Slade School of Fine Art, University College London, London (2016).

Recent exhibitions include: Chute, RIBOT gallery, Milan, Italy (solo, 2019-20); Roost, Lily Brooke Gallery, London (solo, 2018); at large, VO Curations, London (solo, 2018); Choi & Lager, Cologne (2019-20); Saatchi Gallery, London (2017-18); Larsen Warner, Stockholm (2017); Academy of Visual Arts, HKBU, Hong Kong (2017); Royal Academy of Arts, London (2016).

Awards include: Mark Tanner Sculpture Award, London (2019-20) and Kenneth Armitage Young Sculptor Prize, London (2016).

Bowman lives and works in Bristol and graduated with BA (Hons) in Fine Art from UWE in 2013. She has been selected for Outpost Residency 2018 and Package Residency 2016 and won Emerging Artist Award, at Plymouth Contemporary Open 2015. Solo exhibitions include: All Round-er (sad sale), Spike Island, Bristol (2018); putting my foot down, Outpost, Norwich (2018); Selected exhibitions include: Exeter Contemporary Open (2019), OUTPOST MEMBERS show selected by Jessica Warboys (2019), Go friday, come back Sunday, part of Open Studios at Spike Island, Bristol (2017); EBC003, East Bristol Contemporary, Bristol (2016); Mates Rates, The Orchard Inn, Bristol (2016); Spar Dash; Wear Dark Glasses, The Island, Bristol (2016); Plymouth Contemporary Open, Plymouth College of Art, Plymouth (2016). Publications include All Round-er (sad sale) 2018 and ‘it’s a must’, 2015.

Lathwood makes sculptures and large-scale installations which regularly respond to a particular site, event, material or process.Her portfolio varies greatly in form, scale, context and method of production, encompassing: temporary and permanent public art, exhibitions curated forgalleries and heritage sites (often as the outcome of an artist residency) and studio-based work.

Past activities include: Getting There, solo exhibition at Fabrica, Brighton UK (2018); Curious Formations, Trust New Art commission at Biddulph Grange, Stoke on Trent, UK (2017); Is it magma?, solo exhibition at Earth Gallery, University of Bristol, UK (2016); A Solid Above, Dual exhibition with Solveig Settemsdal at Hardwick Gallery, University of Gloucester, UK (2016); resident artist at Hestercombe Gallery and Gardens, Somerset, UK (2015). Lathwood was co-director of Ore and Ingot, an artist-led fine art bronze foundry in Bristol (2012 - 2019). Lathwood’s studio is based at Spike Island gallery, Bristol.

Photograph by Paul Blakemore, Jo Lathwood at Coles Casting in Dorset.

Jade Montserrat is the recipient of the Stuart Hall Foundation Scholarship which supports her PhD (via MPhil) at IBAR, UCLan, (Race and Representation in Northern Britain in the context of the Black Atlantic: A Creative Practice Project) and the development of her work from her black diasporic perspective in the North of England. She was also awarded one of two Jerwood Student Drawing Prizes in 2017 for No Need for Clothing, a documentary photograph of a drawing installation at Cooper Gallery DJCAD by Jacquetta Clark. Jade’s Rainbow Tribe project – a combination of historical and contemporary manifestations of Black Culture from the perspective of the Black Diaspora is central to the ways she is producing a body of work, including No Need For Clothing and its iterations, as well as her performance work Revue.

Jade was commissioned to present Revue as a 24 hour live performance at SPILL Festival of Performance, October 2018, a solo exhibition at The Bluecoat, Liverpool, (Nov – 10 Mar 2019) which toured to Humber Street Gallery ( July-sept 2019) and was commissioned by Art on the Underground to create the 2018 Winter Night Tube cover. Recent selected screenings, performances and presentations include: SPACE studios (2018), ICA Philadelphia (2018), Arnolfini, and Spike Island, Bristol (2017), Alison Jacques Gallery (2017) and Princeton University (2016).

Solveig Settemsdal lives and works in London. She is a graduate of Sculpture at the Slade School of Fine Art (2018) and studied BA Fine Art Painting & Printmaking at Glasgow School of Art (2007-2010).

Settemsdal’s practice moves through the mediums of sculpture, drawing, video, sound and photography. She is fascinated by the mutability of object and medium, and our indescribable and often impossible relationship to our environment.

Select exhibitions include Entangle, Bildmuseet, Umeå, Sweden (2018) AI: Das Andere Ich, Ars Electronica, Linz, Austria (2017) Sonica at CCA, Glasgow (2017) Drawing Biennial at Drawing Room, London (2017) Høstutstillingen, Statens Kunstforening, Oslo, Norway (2014) Conversation Pieces, Spike Island, Bristol (2015) Shadow Optics, Lubomirov/Angus-Hughes Gallery, London (2016) A Solid Above, Hardwick Gallery, Cheltenham (2016). She was awarded first place in the Jerwood Drawing Prize for her video work Singularity (2016).

Nika Neelova was born in Moscow, Russia and lives and works in London, UK.

Neelova graduated with a BA degree from the Royal Art Academy in The Hague and an MA degree in Sculpture from the Slade School of Art in London. She was awarded the Kenneth Armitage Young Sculptor Prize, the Land Security Prize Award, the Royal British Society of Sculptors Bursary Award and was the winner of Saatchi New Sensations. In 2017 Neelova attended Syllabus, an alternative study program run by Wysing Art Centre. In 2019 she was awarded the Arts Council National Lottery Grant supporting the development of her practice.

Neelova’s work has been exhibited in the United Kingdom and internationally. Recent solo exhibitions include, ‘EVER’ at The Tetley, Leeds (2019) and ‘Glyphs’ curated by Domenico de Chirico in Turin (2019). Selected group shows include; ‘Silence is so accurate’ at Geukens de Vil Antwerp (2020); ‘Seventeen. The Age of Nymphs’ curated by Daria Khan at Mimosa House London (2019); Hortus Conclusus at Fondazione 107 in Turin (2019); ‘She Sees the Shadows’ curated by Olivia Leahy and Adam Carr for DRAF & Mostyn (2018).

Upcoming 2020 exhibitions include, solo show at Brighton CCA and group show ‘Inhabited Sculpture’ at the New Art Centre.

Linda Brothwell (b.1981) is a visual artist renowned for initiating a repair movement in the arts. She is currently pioneering a new understanding of the significance of British crafts skills and tools illustrating the importance of their value to economic, social and cultural development. Brothwell’s work has been included in many solo and group exhibitions, including the British Pavilion at Cheongju Biennial, S.Korea (2017), “l’usage des formes” Palais de Tokyo (2015) and “The Tool Appreciation Society” (2017) a solo exhibition with an accompanying co-produced BBC4 Documentary “Handmade in Hull”. Her work is housed in the V&A Museum and the Royal College collection. Brothwell currently lives and works in Bristol, UK.

Lizzie Lloyd is a Bristol-based writer who has contributed to Art Monthly, artnet, Art Review, and Journal of Contemporary Painting among other publications. Her writing has been commissioned directly by artists such as Wood and Harrison (forthcoming) Katie Paterson, Ben Owen, Hannah Murgatroyd, and Tim Knowles and been commissioned by Hestercombe Gallery, UH Gallery, Foreground, Plymouth College of Art, KARST, Exeter Phoenix, and Bridport Museum among others. She teaches at University of the West of England, Bath Spa University and University of Bristol.

Georgia Hall is a contemporary art curator who builds instructional community-based projects to support and enable the production of new works. Her practice has expanded from making sculpture into a growing focus in socio-political practices. This year, alongside contemporary women designers, artists, curators, art historians and writers, Georgia developed and produced Yellowfields, 2019-20. This project utilises critical development and peer-networking as a curatorial method to commission thematic writing about art practice.

Georgia has previously worked for programming teams in galleries and museums including Spike Island and Arnolfini, as well as other roles at Bristol Biennial, g39 and the National Trust. She is a council member of the EarthArt gallery within the School of Earth Sciences, University of Bristol. In 2019, she was generously supported by the Arts Council England and Gane Trust.

Georgia graduated with a first-class in Fine Art specialising in sculpture and later received a distinction in curatorial practice.

Photograph: The Understudy, 2019. Photo by Jules Lister, courtesy New Contemporaries

Freya Dooley (Lives and works in Cardiff). Working across media, writing is at the centre of Freya’s practice, which encompasses unstable narratives, moving image works and soundtracks. Recent projects have manifested as intimate installations, visual essays, spoken performances, listening events, collaborative fictions, publications and other printed matter.

The work often operates in anxious states: attempts to articulate an inside-turned-out. Seemingly disparate narratives interweave through meandering observations, pop-culture references, literary structures and fictionalised experiences.

Forthcoming exhibitions include Jerwood Solo Presentations, London (2020) and a residency and solo presentation at the Beppu Project, Oita, Japan (2020). Recent projects include New Writing with New Contemporaries with Leeds Art Gallery (2019) and South London Gallery (2020). Recent solo exhibitions include Somewhere in the Crowd There’s You, Eastside Projects, Birmingham (2019); The Song Settles Inside the Body It Borrows, Chapter Gallery, Cardiff, (2019); Speakable Things, Oriel Davies, Powys, (2018). Freya currently holds a two-year Fellowship at g39, Cardiff, which is supported by the Freelands Artist Programme.

Photograph: The Understudy, 2019. Photo by Jules Lister, courtesy New Contemporaries

Conway and Young are graphic designers and lecturers interested in people, environment and learning. They are motivated by designs critical, social and political potential.

They have been working on commissioned and self-initiated projects together since 2006. Currently Based in Bristol, where they have a studio at Spike Island and lecture at the University of the West of England.