Tereza Stehlikova is an artist working primarily in moving image and performance. She holds a PhD from the Royal College of Art, where she researched the tactile language of moving image. She is currently engaged in a cross-disciplinary research, investigating how moving image can be used to communicate embodied experience, while using latest scientific theories on how our senses interact. Stehlikova is a research coordinator at the Royal College of Art, animation department (also supervising PhD students) and senior lecturer in still and moving image practice at the University of Westminster. She is a founder of Sensory Sites and co-founded Artesian, a journal for committed creativity, featuring the writings of John Berger, Don DeLillo amongst many others. She presented her research at a number of international conferences and her films have been screened at a variety of film and music festivals around the world. Stehlikova just completed a short poetic film about Trieste, in collaboration with writer Deborah Levy, and also short film about Willesden Junction, with poet Steven J Fowler.
Rosalyn Driscoll‘s work has explored the somatic senses and the language of the body for decades. She has made tactile sculpture, designed haptic exhibitions for people with visual impairments, and researched tactile perception through artwork, evaluations, and conferences world-wide with scientists, engineers, psychologists and philosophers. Her writing on art and touch has been published in collections on art and perception from Oxford University, MIT and Ashgate. She has written successful grant applications and her work has been awarded numerous fellowships, grants and residencies in the US and the UK. She has curated exhibitions for museums, notably Yale University Art Gallery (where she was assistant to the curator of Asian Art) and Brattleboro Museum (where she served as Acting Director). As a member of a sculptors’ collective, Boston Sculptors Gallery, she is responsible for organizing talks, curating exhibitions, and generating new venues outside the home gallery.
Anaïs Tondeur is a visual artist. She works and lives in Paris. Her art practice draws on an exploration of the interface between art and science, senses and cognition, fact and fiction. Through a practice including installations, drawings, early techniques of photography and new media processes, her work is carried by a sense of history, time and perception. Her installations bring into narrative questions stemming from the evolution of knowledge and the impact of human living on the environment. To this end, she collaborates with researchers from other disciplines. She is artist in residence at French Space Observatory (CNES, Paris). Her previous residencies took place at Laboratory of Sustainable Cultures Laboratoire (COAL, Chamarande, France) with ecologists, anthropologists and geographers but also with oceanographers and palynologists at National Natural History Museum and Pierre and Marie Institute (Demain, le Climat, Sorbonne University, 2015, Paris) and with physicists at Cambridge and Ecole Polytechnique Hydrodynamics Laboratories (2013-2015). Her work has been presented in solo and group exhibitions in Europe, South America and the United States.
Kay Syrad is a poet, novelist and art-writer, who investigates how material determines form, in writing and in the natural and built environments. This interest has developed from studying the history and configurations of people’s labour and from collaborations with visual and dance artists, where she has explored how language can embody the interactions of the synaesthetic human body with its physical location. Her poetry has been awarded a number of prizes; she has received a Year of the Artist Award, and Arts Council bursaries for her fiction. She also reviews poetry, recently guest-editing the poetry journal ‘Artemis’, and is working on several art-text projects, including an installation on the LV21, a decommissioned lightship, and the forthcoming Cambridge-based ‘ArtLanguageLocation’. As an educator, for ten years she led a complex pre-university programme for disadvantaged students and now teaches creative writing to people with disabilities. She is also in a creative partnership with the land artist, Chris Drury, co-editing a small imprint and accompanying him on many artistic projects across the world.
Marcus Weisen is researching the body as a locus for the experience of architectural spaces, specifically recently built art museums and immersive spaces. The research adopts a first person micro-phenomenological interview method called “elicitation interview” (entretien d’explicitation), developped by Pierre Vermersch for the study of cognitive processes and applied by Claire Petitmengin to the study of various dimensions of subjective experience.
Bonnie Kemske‘s touch-based ceramic work is created through an interweaving of theory into touch—its fundamentals, its role in society, and its emotional importance, specifically in well-being—and studio practice. She creates sculptural ceramic objects to engage the body’s sense of touch beyond the hand, exploring many facets of our haptic perception. She has published numerous academic papers on touch and ceramics, beginning with her PhD at the Royal College of Art, and has given presentations to diverse audiences such as artists, art historians, psychologists and social scientists. She has a specific interest in curating exhibitions that involve touch, but also looks for new ways of bringing haptic art to a wider audience. As Editor of Ceramic Review, the international magazine of ceramic art, she writes extensively, from academic chapters to magazine features and exhibition reviews, and she has also acted as a Selector for awards such as Jerwood Makers (2013).