• Eile project presentation of research at: a one-day inaugural symposium for the new ‘postcolonial Europe group’

      McCloksey, Paula; Vardy, Sam; University of Derby; Sheffield Hallam University (2019-10-28)
      Invited speaker at the inaugural symposium for the new ‘Postcolonial Europe Group’, University of Kent. ; a place, of their own (art and spatial research collaboration with Dr Sam Vardy) presented our work on the Eile Project.
    • Shedding preconceptions of place-shaping through participatory design and research

      Jones, Rhiannon; CHEAD; University of Derby (CHEAD, 2019-11-21)
      This was an invited talk at CHEAD Members Event on Space and Place: exploring current issues in design of space, facilities and environment for art and design teaching and research. The paper given explored the current findings on how S.H.E.D has been created and piloted activity that has been exploring how a mobile space can facilaite the Shedding Preconceptions of place-shaping through participatory design and research. As a result of this paper S.H.E.D was invited to be installed at Birmingham City University as part of CHEAD Annual Conference using S.H.E.D as an exploratory research lab and conversation space.
    • PhotographyDigitalPainting symposium

      Robinson, Carl; University of Derby (2019-10-23)
      The "PhotographyDigitalPainting" symposium was a one-day research event held at the QUAD Arts Centre Derby UK, on the 23rd October 2019 that continued the investigations begun with "PaintingDigitalPhotography" into how artists and theorists currently engage with the interrelationships of photography, the digital and painting. The first conference revealed the breadth and depth of work and analysis being undertaken in this area, from John Hilliard’s photographic practice referencing a painterly vocabulary, to the digital work of Gerhard Richter. As continuous advancements in digital technology radicalizes, repositions, and re-defines traditional mediums, it is evident that the vast and rapidly expanding range of interconnected practices in this field require much further explication. This second event therefore aimed to look further into these connections by asking how photography, the digital and painting are synthesized in contemporary art practices and what theories are being developed to support this. In what ways do these mediums inflect/infect one another, what does this fusion tell us about their discrete natures, and what new forms are created through this combination?
    • S.H.E.D panel at InDialogue 2019

      Jones, Rhiannon; Courage, Cara; Nunn, Alex; Barker, Victoria; Tate Exchange; Derby Theatre; University of Derby (InDialogue, 2019-11-19)
      This panel will discuss the impact that mobile projects have on cultural, social and political discourse and notions of placemaking (Courage, 2017) or place shaping for cities. It is an opportunity for reflection on the ambitions and lessons learnt for S.H.E.D as a literal and metaphorical vehicle for the design of dialogue. Professor Alex Nunn will describe the way in which intersectional inequalities are produced and reproduced across space and time and explore the ways in which these dynamics might shape the way that we collect and analyse data about inequality. Dr Rhiannon Jones will focus her input on the impact that artistic practice has on engaging or engineering alternative sites for social, creative and cultural engagement. Dr Victoria Barker will draw on her research into the creation of cultural ecosystems and how the interdisciplinary nature of artistic practice. And her focus on how cities as a site for cultural policy and dialogue. Together they will reflect on how their individual areas of research weave together through their collaboration on the interdisciplinary project S.H.E.D.
    • S.H.E.D: A Case Study: Acting locally, thinking globally

      Jones, Rhiannon; Roy, Hanney; Gaio, Ana; Price, Lada; University of Derby; City University, UK; Sheffield Hallam University (Springer/ Palgrave Macmillan, 2020-11-05)
      The research enquiry into how we design for dialogue through the design of a mobile arts and public space, taking the premise of an old garden shed as a starting point presented an opportunity for students at University of Derby to work on the live artist led research project entitled S.H.E.D, the Social Higher Education Depot. Through this live project Dr Rhiannon Jones was able to explore how this live project functioned as a model of best practice. As a result of this, it was invited to be a case study in this new book by Palgrave on 'Applied Pedagogies for Higher Education' in the chapter that focuses on 'Making Projects Real in a Higher Education Context'. It provides a clear critique and example of how a live project, such as S.H.E.D can be an engaged practice-led-research activity that can also work as a project that directly engages students in the Higher Education Context. The Case Study provides an overview of the S.H.E.D Social Higher Education Depot teaching engaged aspects of the project and lessons learnt.
    • Expanded Studio Project

      Jones, Rhiannon; Primary Studios Nottingham; Pssquared Belfast (2019-01)
      The Expanded Studio Project was a 5 month collaborative initiative between Belfast based artists and artists based at Primary Studios, Nottingham. The aim of the project was to develop external relationships, exchange ideas and explore different modes of collaboration. During this collaboration it provided time for regular exchanges in dialogue between 21 artist researchers - as a research- generation activity they conducted regular sending of images, texts, meetings and sharing of ideas and raising questions between Nottingham and Belfast contributors. A programme of site visits, city tours (Nottingham and Belfast), exhibition and Symposia was designed by the contributors and this was funded by Arts Council England and Belfast City Council. This S.H.E.D collaboration with Declan Proctor focused on SHEDDINGLIGHT, it explored how S.H.E.D can transform into a light installation, the collaboration had two phases, in Belfast the micro-light models were exhibited for a month at PsSquared Gallery in Belfast, to test out the premise for the project. Later on in the process and to time with the symposia, at Primary in Nottingham, the 10x8 S.H.E.D structure was built and installed. A micro and macro construction and play with light and materiality of sheds was created in order to reflect the mirco / macro research process between Jones and Proctor from being based near and far at different times of the process. This exploratory series of activities increased their depth in exchange and to share ideas and create new works. Specifically, through this line of research it led to studying how to combine architectural and creative build elements of the design process and combine it with performative strategies for the creation of spaces. As a result it was identified that: S.H.E.D is • a place for conversation • a co-creator, working with, and for community • a multidisciplinary space • a social, collaborative and generative space for the sharing of knowledge • a space for shedding preconceptions For Jones, the Expanded Studio Project specifically provided her with research and development time for the S.H.E.D – by design of the Expanded Studio Project and through these distinct research processes applied to proposal of S.H.E.D Jones was able to test out the conceptual framework for the project within an artistic, public and research network. Working with Belfast based Light Installation Artist, Declan Proctor they spent time researching into materiality of sheds and its relationship to light. For Jones, it raised questions about scale and form, positionality of S.H.E.D – the role of being inside and outside of spaces and how the notion of a shed as an object was triggering public discourse and engagement and in it was turn becoming a research-generation site of and for itself. It was also driving forward question of how spaces can be repurposed as sites of curiosity and creativity. Wider research findings on the impact of this project were noted ‘… through the project artists had extended their practice; experiencing collaboration had led to insights about the importance of reciprocity, experimentation, embracing mess and a more conscious appreciation of their process by bringing external dialogue into their practice earlier’. Outcomes – What difference did the project make? For partners (Primary and PS Squared) • Enhanced profile of partners as artist-led organisations with an innovative artist development programme with UK-wide reach. • Improved skills and experience of strategies to support artist-led development to feed and grow future initiatives • Improved knowledge and access to artists, creative opportunities and professional networks in Belfast and Nottingham For artists: • New ideas and development for personal practice • Improved confidence, skill and experience in approaches to collaborative working • Improved knowledge and access to artists, creative opportunities and professional networks in Belfast & Nottingham (Jo Wheeler, Independent Project Evaluator 2019)
    • Terry Shave: a hybridised-synthesised practice

      Robinson, Carl; University of Derby (Cambridge Scholars publishing, 2020-10-01)
      Terry Shave is an artist who works with the mediums of painting, the digital, and photography in his mixed-media works. Carl Robinson interviews Shave about his practice, with particular focus on whether a synthesis of mediums occurs when they are subsumed under an overlayer of resin.
    • PhotographyDigitalPainting: Expanding medium interconnectivity in contemporary visual art practices

      Robinson, Carl; University of Derby (Cambridge Scholars Publishing, 2020-10-01)
      This anthology follows PaintingDigitalPhotography: Synthesis and Difference in the Age of Media Equivalence in the series of books exploring connections between photography, the digital, and painting in contemporary art practices. While there is much research being undertaken into the mediums under discussion as discrete concerns in the digital age, there is little investigation into their combination. As photography, the digital, and painting frame the contemporary visual discourse, a rigorous investigation into this relationship is much needed. This series of publications undertakes this by leading the research into questions of medium-fluidity in contemporary visual art practices. The authors are renowned artists, senior academics, theorists, and younger researches contributing to the field of study, and their essays address a wide range of interrelated topics. These include: A. I. generation of digital imagery, hyperreal photographic visions of the world, the embodied experience of the painter, and art practice that synthesises the three mediums, amongst others. This volume will be of particular interest to scholars, academics, and researchers studying the associations of these mediums in the digital age.
    • InDialogue international residencies

      Jones, Rhiannon; Nottingham Trent University; University of Derby; Nottingham Contemporary; Dance4; In Good Company (InDialogue, 2020)
      InDialogue International Residency Programme was conceived by Dr Rhiannon Jones in 2016 in order to consider how curatorial practice can engage in innovative research and exchange initiatives that foster new perspectives on modern and contemporary dialogic practice. The design of the programme by Jones provided the time consider how her curatorial practice engages and innovates research methods for international exchange initiatives in order to foster new perspectives on dialogic and contemporary art practice. The model was developed with Dr Heather Connelly (co-founder of InDialogue) to create a unique space for duo-led practice as researcher enquiries into how they use dialogue in their collaboration, as a methodology and as a tool for the generation of practice. The methodology designed intentionally weaves academic, public and artistic led practices together to create a unique model for private and public testing out of creative and academic approaches to practice. In 2016 Artists Chloé Déchery (France) and Jane McKernan (Australia) in this group use the process of research to create the experience of the residency. The artists also created solutions and alternative approaches to the issues arising from that research. Further information on the 2016: https://indialogue2014.wordpress.com/indialogue-residency/resident-artists-2016/ Following the success of the 2016 programme, in 2019 a second research-based residency was offered but this time to extend the investigation into curatorial research based residencies it was offered through a thematic that looked at the close nature of the relationship of the artist to the people and places that they work with and within. hancock & kelly were invited to be in residence at Dance4 from 11-18th November 2019 where they developed their latest work 'An Extraordinary Rendition' for a performance at Nottingham Contemporary as part of the 4th InDialogue symposium and event 19-21st November. Their residency was integrated into other forms of dissemination and experimentation of the notion of a residency - this included public performance, private studio time, workshops, public discussion event at Dance4, InDialogue Symposium presentation and panel event to academics and peers. Further information on the 2019: https://indialogue2014.wordpress.com/2019-2/residency/ Both provided a bespoke dialogic design to support the intentions of the activity outlined by the selected artists to best support the dialogic investigations that they wanted to explore. As a result, the design of the residency programmes investigated the use of dialogue in curatorship and was disseminated by Jones in discussion with the resident artists and public at events built into the main InDialogue Symposiums that aligned with the residency schemes. • There was further learning and/or the transfer of skills and knowledge between parties both between the artist on the residency scheme, with the curators Jones and Connelly and with InDialogue symposium members and with the public and cultural partners in the residency programmes. The residency programmes in both 2016 and 2019 was supported and funded by Arts Council England, Nottingham Contemporary, Dance4, In Good Company and InDialogue.
    • Ice holes

      Locke, Caroline; University of Derby (Primary, Nottingham, 2020-05-20)
      Performing Data is an Arts Council Funded Project exploring and developing possibilities, using various forms of physical and environmental data in order to control and activate sculptural works. The sculptures become part of a series of live performances, installations and films. Ice Holes uses data in connection to climate change. Ice Holes is a sound installation. An old Dansette vintage record deck has been hacked so that it plays at speeds controlled by various data sets. Ice Holes uses Artic sea ice data recorded by the Scott Polar Research Institute to control the speed of the revolving record. In February 2020 Caroline was assisted by the Norwegian Polar Institute to make sound recordings of ice melting in a lake in the Arctic Circle. She has since made compositions using these sounds and cut new vinyl records which are played on the hacked record deck. The soundtrack slows down and speeds up according to the climate data. The work has a sensor which activates only when the audience is present. The output in May 2020 was delayed by Covid-19
    • The Terre Ice Chandelier

      Locke, Caroline; University of Derby (2020-05-20)
      Performing Data is an Arts Council Funded Project exploring and developing possibilities, using various forms of physical and environmental data in order to control and activate sculptural works. The sculptures become part of a series of live performances, installations and films. The Terre Ice Chandelier uses data in connection to climate change and impacts by connecting people through interdisciplinary art practices to the Earth. The Terre Ice Chandelier uses the rate of Arctic sea ice melting recorded by The Scott Polar Research Institute to control a dimmer unit which brightens and dims the light given off by the ice chandelier. The heat from the light melts the ice over time and the dripping water falls onto a hotplate below to creating a sizzling sound as the water evaporates. Caroline worked with Programer Noel Murphy to develop her performing data projects, finding new ways to use new technologies to control or operate mechanisms and sculptural elements. The work was filmed in slow motion (160fps) using Derby University’s specialist Sony F5 Camera and a 4 screen video installation has been developed. The output in May 2020 was delayed by Covid-19
    • Data floes: Polar science as catalyst for the arts

      Locke, Caroline; University of Derby (British Antarctic Survey, 2016-10-20)
      In the Autumn of 2016 Locke was invited to participate in a half day workshop where artists and scientists talked together about how they use climate and environmental data sets to explore issues around the communication of science. The workshop took place as part of The Cambridge Festival of Ideas and was an opportunity to meet and share information with researchers from different disciplines whose work involves creating awareness and understanding of nature and science. Connections were made with climate scientists. Consultation began here with Dr Gareth Rees (Cambridge University) and his research into remote sensing techniques and the monitoring of the dynamics of Arctic glaciated and vegetated terrain. This later became an important connection. Locke worked in consultation with Gareth, who facilitated her links with The Norwegian Polar Institute and The Arctic University of Norway in 2020. Data floes: polar science as catalyst for the arts ended with an evening public event as part of The Festival of Ideas.
    • Screening of the territories of Eile

      McCloskey, Paula; Vardy, Sam; University of Derby; Sheffield Hallam University (2019-10)
      Screening of ; a place, of their own, short film (Eile Project, 2016- ongoing) The Territories Of Eile @Manifest Dismantling @Boston Cyberarts, United States, Oct-Nov 2019.
    • Un/writing and re/figuring artistic practice

      Jones, Rhiannon; University of Ohio; University of Derby (2020-11-18)
      This artist talk entitled 'Un/writing and re/figuring artistic practice' explores the collaboration of Kelly + Jones. It is presented from the perspective of Jones who unpacks how their artistic research offers insights and reflections on how they write and un/write into being their practice. It describes examples of how through their collaboration they have approached the notion of re/figuring positions for the process of writing through the body for bringing a subject into being, in order to explore its dialogic relationship to the feminine. Jones shares insights into the new found potential for creating ruptures, revisions and disruptions to the process of writing through a post-feminist artistic collaborative practice.
    • The Archaea

      Rushton, Stephanie; University of Derby (2017-05-19)
      Stemming from a fascination with plants and focussing on 'intelligence in nature' Stephanie Rushton will talk about her recent digitally manipulated photographic imagery 'The Archaea’. Visually inspired by the jungle imagery of the 20th Century Surrealist artist Max Ernst and underpinned by a diverse and wide ranging enquiry the Archaea considers our genetic link not just to other animals, but to all of life. Humanity often believes itself to be separate and superior to all other life forms, despite evidence that we have evolved from or alongside every other living organism and are interconnected and interdependent in surprising ways. Responding to Andre Breton's 1924 'Manifesto of Surrealism' Max Ernst published a collection of 34 images under the title 'Histoire Naturelle', a series created with an automatic technique he coined Frottage. 'The Archaea' imagery pays homage to this work and to the playful spirit in which it was created. Ernst, who weaved aspects of alchemy, animism and shamanism into this work, was embracing surrealist automatism, and simultaneously attempting to regain a spiritual harmony with nature that he felt had been lost with increasing technological advancement and rationalism. Attempting to connect to Ernst's surrealist methodology, Rushton collected plants and other 'found' vegetal flotsam from the garden over given periods of time to juxtapose in her digitally created photographic tableaux. This has resulted in a series of darkly constructed botanical still life imagery, which refer to the landscape with a suggestion of anthropomorphic figuration. The imagery is subsequently manipulated with various Photoshop techniques that lend the work a painterly quality not unlike the Frottage method, but simultaneously depict a cellular or scientific feel that reinforces the molecular link between animal and vegetable; the resulting images succeed in being both menacing and simultaneously humorous.
    • InDialogue Symposium 2016

      Jones, Rhiannon; Connelly, Heather; University of Coventry; Nottingham Contemporary; New Art Exchange; Nottingham Trent University; Birmingham City University; Dance4; University of Huddersfield (InDialogue, 2016-12)
      InDialogue is not just a title, it is an identified way of working for Jones and Connelly to be ‘in dialogue’ with each other, with the field and with other researchers and artists. InDialogue is articulated by Dr Rhiannon Jones as both a research process and a project. InDialogue 2016 galvanises on the success of 2012 and 2014 International Symposiums. And the result is the 2016 iteration in which InDialogue was defined as existing to extend Dr Rhiannon Jones and Dr Heather Connelly’s own artistic research into how artists and researchers use dialogue in their work. As such, InDialogue 2016 was created to continue their collaborative investigation into dialogic practices through a methodological framework (InDialogue) in order to provide themselves and other artists and researchers the opportunity to engage with this dialectic and discursive research process /activity. The resulting outcome is that InDialogue in 2016 shifted away from being a bi-annual symposium from pilot events in 2012 and 2014, and in 2016 it became an established form of practice-research through which their own research enquiries can also be supported by this unique platform and hospitable environment. As a result, InDialogue 2016 research topics were designed by Jones and Connelly, who proposed across three discussion panels were intended to stimulate a dialogue around the most immediate issues. So, for example, the first was devoted to Speaking through the voice of another, Transcultural Dialogues and We Have A Situation – all re-concidering their interests in performative, linguistic and digital aspects to the dialogic enquiry. This framework supported a setting for others artistic research, experimentation, interrogation and discussion about and through dialogue. Which resulted in a new understanding for InDialogue, as a driver not just a facilitator or a conversation starter for other. By doing this, it addressed the question of how an ongoing research project, such as InDialogue, can interrogate how arts researchers and cultural organisations use dialogue in and as practice. It did this by generating a dialogical framework – co-designed Jones and Connelly created a programme that had three specialist panels that focused upon the curators specific research interest, and alongside this were presentations, papers, performances, interventions, workshops and discussions. This was to allow for exchange of research across cultural, intellectual and social levels. A series of connected research provocations were created Jones and Connelly to be addressed by were: • Dialogue as knowledge and production • Dialogue as artistic and curatorial process • Interactive and collaborative dialogic practice • Dialogic bodies: haptic communication, gestures and exchange • Dialogue as an embodied methodology • Motivations for participatory & dialogical practice locally situated • Agendas of institutions in promoting engagement • Reflections on power relations and how collective practice is authored. • Transcultural and transdisciplinary dialogic practices. It is important to note that the above formed provications are set out of a series of research agendas and questions that the cofounders Dr Rhiannon Jones and Dr Heather Connelly's devise together - through and out of their own research interests. These research interests offer a collaborative framework and focus for the dialogic field of enquiry; and call for participation as set out by InDialogue. In order to extend the frame of reference and knowledge exchange in the field for the enquiry Dr Rachelle Viader Knowles was invited to the curatorial team was as her research interested aligned with the themes set out. Professor Steve Swindells was invited to act as Chair due to his extensive knowledge of the dialogic field. Papers were peer reviewed by InDialogue 2016 partners from Birmingham City University, Nottingham Trent University, Coventry University, Nottingham Contemporary, New Art Exchange, Dance4. Reach: The 2016 event will took place at Nottingham Contemporary (NC) and New Art Exchange (NAE), with an evening of performances in association with Dance 4, it also supported by Nottingham City Council, which has recently been named UNESCO city of literature of which InDialogue aligned with this accolade for the city of Nottingham. Nottingham City Council (NCC) is marketing it through their inhouse team – it featured on the events landing page, in their Whats On weekly emails (reaching 26K), facebook (15k) and twitter (7k). Dance 4, Nottingham Contemporary and New Art Exchange are also promoting the event and we are feature in their brochures and websites and social media campaigns reaching art audiences approx. (25K). The event was also marketed through our InDialogue mailing list, social media and JISC mail.(10k). InDialogue was be chaired by Prof. Steve Swindells, University of Huddersfield, with guests Prof. Grant Kester, University of San Dieago, and panellists Helen Varley Jamieson (Germany and New Zealand) with over 50 presenters taking part over the 2 days, featuring a range of presentations from across the ADM faculty and academic institutions from around the UK, EU and USA: Birmingham University, Coventry University, De Montfort University, Loughborough University, Lincoln University, Nottingham Trent University, Southampton University.
    • The Marion Adnams project

      Forde, Teresa; University of Derby (Derby City Council, 2020-03)
      This magazine article explores the significance of Marion Adnams as an artist from Derby who can be celebrated for her work and her status as a woman artist in the context of Derby’s International Women’s Day celebrations. It also showcases the Marion Adnams Project and the extent to which profiling this kind of work both raises awareness of Adnams and her work as well as the research activity currently being undertaken.
    • Finding the artist: The role of the feminist detective

      Forde, Teresa; University of Derby (MAI: Feminism and Visual Culture, 2020-10-05)
      This article considers the ways in which the feminist detective can investigate an artist such as Marion Adnams who is relatively unknown and about whom there has been little public knowledge. It also considers the ways in which arts practice can function as a form of engagement with the artist and the definitions involved in exploring Marion Adnams life and work. The feminist perspective recognises the ways in which particular and traditional art history narratives incorporate women’s art and the ways in which Adnams can be recognised as a both a part of this narrative and exceeding beyond it. The process of constructing a video installation emphasises engagement with Adnams’ work and the extent to which the artwork and the artist can be understood to relate to one another through this process of detection.
    • Performing geopower: Eile and border-fictioning

      McCloskey, Paula; Vardy, Sam; University of Derby; Sheffield Hallam University (Intellect, 2020)
      Since 2016 we have developed the Eile Project (EP), a transdisciplinary investigation of the border in Ireland which centres around site-responsive performance and audio-visual films in a process and praxis that we call border-fictioning. Through this practice we ask how the border might be differently understood, experienced, critiqued and altered through affective encounters in the artworks produced between bodies, the earth and sovereign power. In this paper we explore (somewhat experimentally) our notion of border-fictioning in the EP, specifically through one of the piece’s ‘experiments’ (#3 Territories of Eile). We draw on a specific concept, that of geopower, and a specific diffractive method. Geopower, or the forces of the earth itself (Grosz, 2008, 1999, 2011; 2017), allows us to comprehend and conceptualise the geo (earthly, material, affect, power) and the human (bio, anthropic, biopolitics, body, power) together in specific ways. A diffractive methodology (Barad, 2007; Haraway, 1992; Trinh, 1986) sees the production of knowledge and meaning as inextricably connected to (entangled with) the social and material practices of the world. The paper offers a discussion of that which emerges from a diffractive approach to border-fictioning in light of the concept of geopower. We show that geopower enables us to see the ways in which the EP's border-fictioning through performance and audio-visual film constitutes a particular kind of capitalisation of the earths forces - radically different from those of capitalism and sovereign power, and potentially resistant to colonial histories, and suggests new alliances and imaginaries that allow us to work-through the complex condition of the border and partition in Ireland through the entanglement of human (anthropic) and earthly (non-human) concerns within the tensions of the Anthropocene.
    • Wonderland

      Jones, Rhiannon; Nottingham Trent University (2015)
      Wonderland was a research project investigating an artistic methodology into the design of conversation as an artistic practice. The project was launched at New Art Exchange 17 July 2013 to start the 15 month project. It had a specially developed session that considers the impact of modern day life.The public’s voice and ideas were used to provoke a series of events over the duration of 15 months hosted at New Art Exchange to discuss issues that need to be had, from war to politics to Social Cohesion and Restorative Justice. Wonderland: Investing in every part of our diverse heritage and community.The large scale community engaged project embraces learning and participation through the creative arts.Orchestrated by Rhiannon Jones, audience participation was at the heart of all the public events. Key members of the public took part from a wide range of local communities, police force, social workers, academics, refugee organisation, local politicians, local resident and tenants group members, charity organisations, international community representatives, artists, residents, students and writers.Wonderland delivered a series of 90 workshops for diverse community and social groups from across Nottingham city and county. It directly engaged with over 1500 members of the public who attended a range of workshops, live vocal events and pop up exhibitions hosted across the city of Nottingham. These voices and ideas were used to provoke a series of VOCAL events hosted at New Art Exchange to discuss issues that need to be had, from war to politics to Social Cohesion and Restorative Justice. The large scale community engaged project embraces learning and participation through the creative arts, hosted by NAE until summer 2014. Wonderland commissioned 3 artist residences and other training opportunities for emerging artists and graduates. There was a public exhibition of work at Bromley House in 2014. Permanent totem pole sculptures have been installed across the Meadows area in the city. Impact of the research has resulted in two permanent public art sculptures in the city of Nottingham. The international paper delivered at Cumulus Portugal and the findings of the project fed into the PhD research The Artistry of Conversation (2016) The hopes and dreams of Nottingham’s many voices were gathered, discussed and this project stimulated different perspectives through participation and engagement. Rhiannon said a key aspect to the project’s success was its inclusiveness.“ Everyone’s voice matters and can be shared through participating in workshops, vocal events, and large exhibition in summer 2014 at NAE. The project aims to bring people together who care about the impact of modern-day on the people from Nottingham and to give time for everyone to reflect and come together through art to share hopes and aspirations for the future.” Having an honest discussion that challenges us to understand and rethink society in a safe place is an important moment.“As an art space we would encourage creative interventions including debates from diverse communities in order to stimulate new art that transcends and produces knowledge and understanding to create a better place for future generations,” Chief Executive, New Art Exchange, Skinder Hundal.