Kate Bradley (they/them) is a performance artist from Gateshead now based in Glasgow.  Their practice primarily engages with writing and sound art, ranging from a commercial gig practice in poetry and songwriting, to an experimental approach to performance texts and sonic art.  Thematically, they revolve around: finding home, regional and queer identities, and the little stories of little lives.

Bradley’s approach to performance is underpinned by an extensive relationship with gigging culture.  A Roman Skyline, is their live gig performance exploring diasporic relationships with ‘home,’ and how gig culture and performance art can interact.  Bradley believes gigs create spaces of entertainment and community, joy and togetherness; in all of their work, this ethos of coming together and having a good time is present.

in an upstairs room is Bradley’s most recent performance, intersecting autobiography with site-specific practices, taking place in Maryhill Community Central Halls.  Bradley’s portfolio is notably locally sensitive, as they fold the stories of the places they have been into all their work.  This stems from their belief that people cannot be divorced from place, as site and autobiography illuminate one another.

Hope Kennedy is a performer, movement artist and facilitator born and bred in Fife, Scotland. She is an interdisciplinary artist whose work centres around devised movement and text practice, with a focus on lived experience, womanhood, rage and elation: she creates patchwork stories made up of her own history, overheard conversation, lists and found text.

Her work often takes on a melancholy hue, working with themes of loss, longing/belonging, and letting go after holding on very tightly. Working with a homemade, almost storybook aesthetic, Hope creates somehow familiar dreamscapes that hold the audience fully, wholly and generously in the worlds she creates.

Hope is a collaborative artist at heart, who loves playing and experimenting with different methods of creating with a collective. The core of Hope’s work revolves around creating intricate and enveloping worlds that invite audiences to reminisce and recollect their own joy.

Florence Logan is a French/Scottish contemporary performance maker, mover and facilitator. Her work is collaborative and research-centred. Inspired by the clowns and physical theatre makers she grew up watching in rural France, she makes experimental, accessible and expansive forms of storytelling which centre around the audience’s experience and imagination – merging our inner and outer worlds together, inviting in the invisible and the impossible. She makes work for both adult and young audiences.

​Recurring themes in her work include obsession, mothering, care, the natural world and revolt (as in ‘to disgust’ or ‘to be disgusting’ and ‘to rebel against’). She often works with smaller spaces and audiences. Experimenting with strength and flexibility, she works with movement that feels delicious, fleshy and indulgent. In her practice (of Ashtanga yoga, somatic dance, bouffon, Butoh techniques, commercial choreography and improvisation), she explores images and dances found in nature and invites them into the body.

Her writing isn’t separate from the body but very much rooted in it. They start as site-specific explorations which grow into the fantastical and sensorial worlds in her stories and choreographies.

Julienne Restall is an emerging artist whose practice lies within visual and movement-based theatre, and often intersects with video art. Her main interest lies in devised, ensemble stage pieces with a focus on voicing true experiences or finding innovative ways of retelling important stories. At the centre of her process, however, is joy, play and collaboration. Music, object and choreography, as well as the curation of space and world building are also key foundations of the work Julienne makes. Most recently, her physical theatre piece “On Shifting Ground” featured as part of ‘Into the New’ festival at the CCA, and was set in a dystopia using a treadmill, a light up cube and a taped-down grid to navigate the space and the story of her character’s embodied entrapment.

Romi Sarfaty is a contemporary performance practitioner and a visual maker, based in Glasgow. Her work is mainly inspired by worlds of mythology and make-belief, associative streams of consciousness, iconography and the images that emerge from acknowledging the abundance of existence. In her practice, she works with abstraction, absurdity and melodrama, and is drawn to present and or celebrate things in their most extreme, grotesque form. Her research often centres around lateral thinking, new arrangements of what exists in reality, with attention to what it triggers in the mind.

Romi crafts her own costumes and sets, and considers the visual the most crucial way of communicating. Her visuals making is inspired by psycho-magic, and sustainable practices. Her movement and writing practice is driven by body/ mind frequencies and urges. Inspired by Butoh, body weather, and body archive philosophies, she aspires to generate movement that is authentic and led by the state of the self and its surrounding sceneries. Her writing practice incorporates spelling mistakes and accidents of dyslexia. Regardless to what the topic is (from extreme pain to fanatic love), she always try to work with acknowledgement and gratitude to What There Is and resist the focus on what there isn’t.

Dale is an artist, curator, and performer.
At the core of Dale’s work is an exploration of Connection. How do we connect with each other, ourselves, and the planet? Dale is a co-founder of Good Apple, a collective established in Glasgow 2020, that have organised and hosted several paid opportunities for early career artists to showcase their work on stage.

From 2014 to 2020, Dale worked at the Bristol Old Vic Theatre, as a theatre maker, facilitator, performer, producer, and director, focusing around widening access to the arts for young people and communities across the southwest of England.
Currently, Dale is co-leading The Orchard Project, a collaboration with the Royal Conservatoire of Scotland, aiming to transform the area around the RCS building into a publicly accessible green space.

Jessica Paris is a performance artist from London playing primarily with her body as a medium. Her work in the sex industry forms the basis of her current intermedial praxis examining power, persona, money, class and femininity through sensory research.

Her work straddles Anne Teresa De Keersmaeker’s mathematical and repetitive use of the human body and Ryan Heffington’s embodied choreographic style to create unique and visceral movement pieces that add to the ever evolving and thriving contemporary art dance scene.

Dale Williamson is a multidisciplinary performance/visual artist. Their work explores the building of new worlds and mythologies, centred around lateral thinking and the images that accompany our streams of consciousness.