Anaïs Comer (b. 1996, London) lives and works in London. With an inclination toward fantasy, fiction and storytelling, her practice explores the potential of objects to enchant. Working across sculpture, drawing, written text and performance, Comer channels the spirit and generosity of the storyteller. She received her BA (Hons) in Fine Art from Central Saint Martins in 2019 and is a participant on the Central Saint Martins' Associate Studio Programme 2019 -2021. Group exhibitions include ‘Invisible City’ (2021), UK Mexican Arts Society, London; ‘Lottery Exhibition - Ai Mi Tagai’ (2021), Youkobo Art Space, Tokyo; ‘Sounding Off 2.0’ (2020), VITRINE, Online; ‘The Destrier’ (2019), Freehold Projects, Leeds; ‘Bad Art Presents: KIKI / CSD’ (2018), Voodoo55 Gallery, Berlin; ‘Location, Location, Location’ (2017), Old Courts, Wigan; ‘Altered Realities’ (2017), Lethaby Gallery, London.
Lily Hudson (b. 1997) lives and works in London. Her work explores queer ecologies, the intersection between art and science, and draws heavily on science fiction and fantasy aesthetics. She works primarily with reclaimed or reusable materials - recently focusing on woodwork, pyrography, and writing. In the past she has worked with performance, puppetry, and textiles. Lily received her BA (Hons) in Fine Art from Central Saint Martins in 2020 and in 2019 was an exchange student on the Art Science course at The Royal Academy of Art in the Hague, Netherlands. She is participating in UAL’s Associate Studio Programme (2020 - 2022), works as a Graduate Teaching Assistant at Central Saint Martins, and is working towards a Level 5 Teaching and Learning qualification at Goldsmiths. She prefers to exhibit outside of conventional gallery spaces, and her group shows include ‘MAKE’ (2021), Freelands Foundation, London (2021); ‘Beneath A Garden Waits to Grow’ (2021), Brockley Community Gardens, London; ‘Strange News From Another Star’ (2021), Peckham Pelican, London (2021); ‘Nothing Personal’, No Bounds Radio, Online (2021); ‘The Middleman’ (2018), The Grey Space In the Middle, Den Haag.
Sally Plowman (b. 1997) lives and works in the UK. She focuses on collaborative working methods to think about how to fail without failing, re-routing purpose, and subverting possession and use. Her work is informed by clowning, often her work uses re-worked discarded objects to encourage play and connection via performance, sculpture, music, animation, and drawing. Sally graduated in 2020 with a BA(Hons) in Fine Art from The Slade School of Fine Art, London. She has exhibited across the UK, performances include; clown shows at ‘Supernormal Festival’, Oxfordshire (2019), ‘PARK(ing) Day’, De La Warr Pavilion, Bexhill-On-Sea (2018). She played with her band Shaky Dome at ‘A Friends Rendezvous’ (2019) at Southwark Park Galleries, London and performed in ‘The Halfway House’ (2020) an immersive production with Persona Collective in the Old Central Saint Martin’s campus, Holborn, London. As a curator, Sally programmed a year of events in two converted chapels in Lincolnshire: ‘A Year of Nostalgia’ (2018-19).
Meitao Qu (b.1996) lives and works between London and Beijing. From costume to architecture, she is interested in how forms of visualisation operate as ‘props’ to stimulate imaginations. Traversing sculpture, installation and moving image, her practice uses storytelling and worldbuilding to contemplate the fissure between ideology and reality. Taking scrapbooking as method, her work maps and sutures contradictory perspectives to draw out the misunderstandings that inform their conflict. Qu holds an MA from the Courtauld Institute (2020) and an MFA from the Ruskin School of Art (2021), funded by the Oxford-Kaifeng Graduate Scholarship, and received a BA (Hons) in Fine Art and Art History (2019) from Goldsmiths. Group shows include ‘reCreational’ (2018), Hartslane, London; ‘Symposium’ (2017), Crypt Gallery, London. She will be participating in the NewBridge Project’s Collective Studio programme (2021-2022).
Jessica Reeves (b. 1998) lives and works between London and Essex. She uses her workplace and educational experiences as material to contest ethics perpetuated by art institutions, in terms of the value of labour, hierarchies relating to class, accessibility and audiences. She uses DIY and survivalist techniques to make lo-fi objects from surplus materials, thus rejecting art world material-hierarchies and managing her frustration at the wasteful and materialistic nature of our capitalist society. Reeves graduated with a BA(Hons) in Fine Art from Central Saint Martins, UAL (2021) and is alumnus of Willem de Kooning Academy, Rotterdam (2019) and the Royal Drawing School, London (2017).
Her work has been selected for ‘UAL x Super Nature Presents: Material Heroes’, an exhibition in Granary Square for London Design Festival (2021). She was recently artist in remote residence at Metal (2021) and completed an Erasmus+ Grampus Heritage Residency in traditional skills at the Cyprus College of Art (2020). She is a contributor to ‘Tender Order’, a publication by Jade Montserrat with Industria & Jane Lawson. Reeves works for The Other MA (TOMA), an alternative art school in Southend-on-Sea, as the manager of the TOMA Project Space and will be the curator of the alternative degree show that opens in February 2022.
Elliot Gibbons is a writer, researcher, and curator based in Essex. He works as a part-time gallery assistant at Focal Point Gallery and as an assistant for TOMA Project Space. He holds a first-class BA (Hons) in Fine Art from Chelsea College of Art, London (2019), and a Foundation Diploma in Art and Design from Central Saint Martins, London at distinction level (2016). He is largely interested in unearthing queer histories outside of urban centres, and queer art histories during the AIDS crisis in Britain. His research has previously contributed to an online exhibition for Snapping the Stiletto: Campaigning for Equality. His writing has been published by ‘thisistomorrow’ and AQNB.
On the 25th of September join Jessica Reeves in the exhibition space for a firebrick-making workshop. Reeves will guide you through producing a fire brick entirely from everyday detritus, such as tickets, receipts, lists, bills, diary pages, or even a hoard of old university prospectuses. We encourage you to bring your own paperwork baggage to then pulp to explore what Reeves posits as a method “for processing and managing frustrations”. These can then be taken away and burnt at your leisure as a way of purging from the wasteful and materialist burdens of our capitalist society.
// Sign up via our socials soon