Team ::::::

Tracy Hill’s trans-disciplinary practice investigates the dynamic relationship between our human beliefs and customs, traditions of the hand created image and developing digital technologies. Walking and navigation connect with a modern obsession for locating, ordering, and fragmenting our experiences of landscape and Place.

Combinations of print, installation and drawing invite new encounters with everyday landscapes. Disrupted and reimagined Hill’s images require a visual and cognitive attention intrinsic to walking occupying the place where our digital and physical worlds overlap.

Recent ACE and Heritage funded projects Porosity and Carbon Synthesis reveal the imperceptible energies, which underscore our human experience of and connection to Place. Both projects connect the permeability of the land with the porousness of the human body, exploring the possibilities of linking art and science to transform perceptions of landscapes, revealing fragile relationships between global living systems, visualising the (in)visible.

In 2022 Hill was awarded a research residency at Centre for Print Research, UWE Bristol to work with The Graphene Application Laboratory to explore the potential of combining traditional print process and Novel Print materials to produce a sensing, responsive print surface.

Recent exhibitions include:
Our World, Our Crisis, The Point. Doncaster (2023) Still and still moving, OD Arts Festival Somerset (2023), Paths of Resistance (2022) – Arnofini Bristol, Woolwich Contemporary Print Fair (2020) – Woolwich Arsenal London, 21st International Biennial (2022) – Ardennes Museum of
Charleville-Mézières, France, Ephemeral Bodies (2022) – AirSpace Gallery, Stoke, Triennale de Gravure de Liege (2021), The International Print Triennial – Bunkier Sztuki, Kraków, Poland (2021)

Awards: Arts Council England, DYCP (2021), European Printmaking Award, International Print Triennial Krakow (2018), Awagami Paper Award (2017) and shortlisted artist for the Triennale de Gravure (2021).
Hill has contributed to multiple conferences and symposia including Impact 12, Keynote speaker UWE Bristol (2022), Printmaking, Artists’ books, Landscape and Nature
LAND2 & Book Arts, UWE, Royal Geographic Society (2022) British Society of Dowsers (2022) Publications and Essay contributions include: ‘Porosity’ (2022), ‘ECHTRAI’, (2021); ‘Proximity and Distance in Northern Landscape photography’ (2020); ‘Thinking the Sculpture Garden, Art, Plant, Landscape’ (2020); ‘Polymer Photogravure’ (2018)

Magda Stawarska’s multi-disciplinary practice combines moving image, soundscape and, importantly, traditionally made silkscreen prints and paintings on paper. In a series of projects, she has examined how rhythms in sound affect our ability to decode the visual, how the process of inner listening and intimate listening to a soundscape of place, impacts on the ability to understand one’s personal relationship to a city and how the trauma of loss, passed from one generation to another translates to the structure, the architecture and absent buildings within a city.
In 2020 Magda Stawarska-Beavan was shortlisted and shared in the Award for Artists from the Paul Hamlyn Foundation. Her past grants include: Artists’ International Development Fund – British Council and Arts Council England – Grants for the Arts for her Istanbul Sound Impressions and Kraków to Venice in 12h projects. In 2015 she won the Hamelin Polska Award at the International Print Triennial – Kraków. Her printmaking works are in collections in the Printmaking Museum in Shenzhen, China and the Kraków International Print Triennial Collection, Kraków, Poland.
In 2020 Bracka 40 which debuted in her solo exhibition at Yamamoto Keiko Rochaix in London was purchased by Arts Council Art Collection and exhibited again as part of Right About Now exhibition, the most extensive display of Arts Council Collection acquisitions to date. Right About Now highlighted a diverse selection of 18 contemporary British art. Bracka 40 is part of the Arts Council touring exhibition Found Cities, Lost Objects; Women in the City opening in May 2022 at Birmingham Museum and Art Gallery, travelling to Southampton City Art Gallery and Leeds Art Gallery.
In 2021 Magda made significant contributions to the Lubaina Himid exhibition and catalogue at Tate Modern by creating five sonic environments within the architecture of the museum spaces.
She is continuing to work collaboratively with Lubaina Himid on sound installation and printmaking. In 2022 she was commissioned by Van Abbe Museum in Eindhoven to compose an 8-channel sound installation in response to Lubaina Himid’s series of paintings titled Zanzibar from 1998. This was part of ‘Rewinding Internationalism’, an exhibition and research project.
Zanzibar (1998-2023) installation will be in the heart of Lubaina Himid Plaited Time/Deep Water, an exhibition at Sharjah Art Foundation in the autumn of 2023.

Kathryn Poole is a visual artist who uses drawing, printmaking, and painting to dissect the boundaries between life and death. Kathryn is interested in the transmigration of the soul and how she can preserve life and memories through intimate observations of death.
The grave as a site of potential energy holds significance in her work and her current research explores the potential for renewal and rebirth through the liveliness of a decay in the project ‘Grave/Grebh/Græf’ where she examines various burial sites through observational drawing and grieving rituals.
Recent Exhibitions include: Woolwich Contemporary Print Fair, London (2022), Royal Academy Summer Exhibition, London (2022), State of Print, Old Fire Station, Bristol (2022), 2nd Annual Members Show, The Birley Artist Studios and Project Space, Preston (2022), The Herbarium, Bower Ashton Library, Bristol (2021), Herbarium, The Athens Printmaking Art Centre, Athens (2020), The Artful Line, Harris Museum and Art Gallery, Preston (2020)
Contribution to publications include: Borrowed Time: On Death, Dying and Change (2022), Dark Mountain Issue 19 (2021)
Contributions to conferences and symposia include: Impact 12, UWE, Bristol (2022), Borrowed Time: On Death, Dying and Change, art.earth, Dartington (2020)

Artist and researcher, Jane Elizabeth Bennett’s practice is an examination of public space through an autistic lens. To her, existence is filled with systems of discontinuity. Meaning that memories fade, language is inadequate, and places continually fracture and reform. In 2022 Bennett received a full SeNSS scholarship to attend the University of Reading as a PhD candidate, where she is investigating the appropriation of public space by autistic women. This enquiry informs her printmaking practice which is rooted in typesetting and screen printing.

Nick Rhodes is a visual artist whose cross-disciplinary practice explores the possibilities of material innovation, printed surfaces, and design. Traditional paper and fabric printing combine with an extensive illustration background and successful graphic design practice to establish Switchopen. Working with multiple national and internationally recognised bands, musicians, and music labels, Switchopen has produced bespoke hand illustrated and screenprinted merchandise.

Current research focuses on Solitary Bee populations in the UK, predominantly investigating innovations in design and structures of Bee houses. Practice led research into the mechanisms, functions, and the ecology of colour vision in bees has led to new research partnerships and funding to test the possibilities of incorporating the printed surface as an integral part of future structural designs.

Recent exhibitions include:
SxSw Music Festival, Austin, Texas. USA
Reeperbahn Music Festival, Hamburg, Germany.

Recent publications include:
Rockin’ Down the Highway: The Unholy Marriage of Rock ‘n’ Roll and Internal Combustion, Paul Grushkin
The Wall: Modern Day Music Posters, Tom Booth.
Gig Posters, Vol. 2: Rock Show Art of the 21st Century , Clay Hayes