Selected Participants


(alphabetical order)

Dave Clarkson 


In 2009 Dave graduated from Nottingham Trent University with a BA (Hons) Fine Art Degree.  His practice explores comedy characters and personas and reinvents the stand up environment to explore a darker side of humour.

“There is much to be said for failure. It is much more interesting than success.” - Dave Clarkson

“I just want real reactions. I want people to laugh from the gut, be sad from the gut-or get angry from the gut.” - Andy Kaufman

The Great Gatsby


It’s wonderful to be here. Everyone’s smiling, everyone feeling good, now that we’re intimate with each other and more comfortable.

I’ve been speaking to the producers and they trust me this time.

So I was thinking, “What can I do this time?  Can I sing, dance?  And then I thought of what I had done before; Characters like the little foreign man ‘thank you very much’.

Then I thought, “What if I just come out and am straight with you?

Than I saw this book and it reminded me from when I was at school. My teacher told me it was the greatest novel ever written.

I take issue with that. I don’t believe that it is. But what id like to do tonight is read it to you. Then if you realise anything that I might have missed, we could raise it for discussion.

Eddy Dreadnought


Eddy Dreadnought is a contemporary artist working out of Sheffield.

His artwork aims to raise questions about the world around us, but open questions posed in a sensory, poetic way. He is particularly interested in horizontal, as opposed to hierarchical, structure.

His methods include performance, drawing, fabricating assemblages and installations, video, and writing. Usually the work is based on significant research.





What Happened in the Market

This piece arises out of an installation by the artist in a covered market last year, looking at the ‘aesthetic beauty of the stock market, redundancy and repossession’. It referenced materials used to secure vacant buildings, and ‘The Source’, a sculpture in the London Stock Exchange until 2010.


Later the installed panels were made into an ‘Energy Box’, which was wheeled to the site of the defunct Sheffield Stock Exchange in a healing ritual for the economy.


Subsequently a piece of the installation was taken down to the ‘Occupy LSX’ camp in London.


This solo piece for circuit has the artist walking the course of an invisible economic flow chart. At each station he will revisit part of the narrative above, interwoven with reactions to the role of ritual and chance in economic ‘science’, performing in ‘non-art’ places, and ambivalence about visibility.

Holly Johnson 



Holly Johnson is an artist and performer whose practice is concerned with the body and the images that can be created when the gendered body is employed within performance, employing interdisciplinary approaches to stage and gallery work. 


In an attempt to create work that is both beautiful and disturbing, Holly is continuing to allow her fascination with death and the imagery concerned with it to filter into her artwork. A recent Graduate of Art Event Performance at Leeds Metropolitan University, Holly is continuing her studies in MA Performance at York St Johns University. [Image credit: Michael Higgs]


‘We are tied to the ocean. And when we go back to the sea, whether it is to sail or to watch – we are going back from whence we came’ – Anon.


‘Tied’ is a durational exploration of the self in which the artist will attempt to discover what it means to distance oneself from a close-knit family unit. This process allows reflection and space for judgement on both this relationship and this journey from dependant to independent and cared for to carer.


A personal exploration into origins, travel, beginnings and endings.


 Ryan Jordan



Ryan Jordan is a UK based electronic artist working with self made instruments and tools for live performance. He has performed and presented his work internationally in a wide range of venues from art and academic institutions to derelict warehouses and squats.


Jordan runs noise=noise; a noise research laboratory and live performance platform. noise=noise aims to build a body of work based around experimental computational and electronic arts, culture, and thought. Jordan also leads workshops constructing electronic devices for live audiovisual performance and installation. He is currently undertaking a PhD at the Music Technology and Innovation Research Centre at De Montfort University, Leicester.

Channelling Interference

Channelling Interference is an experimental performance exploring biofeedback and the bodies crude replication and integration into electronic circuits. Using homebuilt amplifiers and electrodes the body is connected into a circuit with cathode ray tube (CRT) monitors. Electrons shot beyond the phosphor coated monitor screen contact the body and create bioelectrical feedback loops within the circuit resulting in distortions of sound and image. The body acts as resistor and antenna controlling electrical flow and channelling electromagnetic energy, such as radio signals. The body is integrated.

Miffy Ryan 


I am a performance, prose and digital media artist.

I am currently a PhD student researching the relationship of performance and technology at Loughborough University.

Generally my artistic output has been ephemeral and has taken the form of live performances at organised events; such as Dead Good Poets Society (Liverpool), Noiz in Zion (Leicester), Apples & Snakes (Leicester), Speech Acts & Polyverse Poetry Festival (Loughborough University) and most recently Poetics of a Campus (Loughborough). I also perform in the urban environment in London (on the tube network), in Manchester (the streets around Piccadilly Circus), in Loughborough (the shopping district). I produced film shorts for channel 4 Late Night, 2001, and was part of a exhibition titled Cyberspace & The Myth of Gender in Chongqing (China 2010). Most recently I have had prose published in the on-line journal Great Works and recently I was a delegate at the’s conference on performance at the end of 2011, they will be publishing my paper at the start of 2012.

Wearable Sound Machine

The wearable sound machine lets me transport sounds from the city, I roam the corridors and ride the lift up and down and walk up and down the stairs with it. I have left the script and the performance space seeking proximity and interaction, it is not a hidden performance, just a small scale intimate one.


Ollie Smith 


Ollie Smith is a live artist and theatre maker based in Nottingham. He trained at Bretton Hall and graduated in 2007 with 1st class honours. He makes performance work as a solo artist and as a collaborator. His practice examines themes of loneliness, identity and finding one’s place and purpose in the world.


Smith has toured nationally with various shows and has received commissions and development opportunities from Emerge (Leeds), Theatre Writing Partnership (Nottingham), greenroom (Manchester), Hatch (Nottingham) and Compass Live Art Festival (Leeds). He is currently being mentored by New Perspectives (Nottingham).


Smith has been collaborating with Nottingham-based artist Michael Pinchbeck on The End since 2010 and is now working with him on The Beginning. Smith is also currently working with London-based artist Phoebe Walsh on Cat in Hell – a mischievous show that wryly collides Goethe’s Faust with Andrew Lloyd Webber’s Cats.


Live fast, die young.


On 2 March 2012, Ollie Smith turned 26. This left him with just one year to do something he should have done a decade ago, when he bought his first guitar. He has a year left to establish himself as a rockstar. Because real rockstars die aged 27.

As a fitting indulgence of a lifetime’s obsession with rock ‘n’ roll, Smith has made a show exploring what has become known as the notorious ‘27 Club’ - a group of legendary musicians who all died at 27 years of age.


The show ties fact together with fiction, speculation and conspiracy to form a tangled noose of self-destruction. Sitting somewhere between a fanatic lecture, a grubby gig and a Jonestown-esque cult meeting, it takes on hedonism and fading dreams, drugs and booze, suffocation and electrocution, murder and suicide.

The Gramophones


The Gramophones are an all female theatre company based in Nottingham. They devise witty, interactive theatre with a twinkle in its eye. Their work is informed by clowning techniques and as a result is very playful, fun and engaging. They place the audience at the centre of their performances and regard them not only as voyeurs but as players in their work.


The Gramophones came together through the chance discovery of notes in Cafés around Nottingham, which read ‘Looking for quirky female performers for theatre project’. They were placed there by Hannah Stone; Artistic Director, to bring a group of like-minded performers together.

End to End

In April 2012 three women made a daring journey from one end of Great Britain to the other. Trusting only to their resourcefulness and the kindness of strangers they made an 18-day, 874-mile journey from Land’s End to John O’Groats. They completed their unusual expedition on as many varieties of transport as they possibly could. In End to End they share moments from their adventure and encounters with a host of interesting and unusual characters. Personal stories, told truthfully are threaded through the narrative and take the audience on a unique and interactive journey. 


Wise and Carter 




Kerryn Wise has been making contemporary dance/live art performance work for the past ten years. Her performance practice explores the relationship between the live and filmic body through new, experimental choreography and the visual layering of images through projection and new media. Kerryn has performed both nationally and internationally and has received support and commissions from venues and organisations including the Bonington Gallery and Powerhouse Theatre, Dance4, eXpo/NOW Festival, Arts Council England, Deda, The Place Artist Development, The National Review of Live Art, The Bonnie Bird Trust, Arts and Technology Partnerships, The Choreographic Lab at The University of Northampton.

Tina Carter graduated with a first class honours degree in Contemporary Arts at Nottingham Trent University in 2003. She has since been developing her own practice through individual and collaborative projects. She has worked with Reckless Sleepers since 2005, touring The Last Supper in Europe and the UK. She has made performances for Hatch, Clipper and Expo. The relationship between technology and live performance is a common feature of her work, most recently projecting the perspective of a performer from inside the performance. Although her practice is heavily movement based, Tina’s devised performances often merge the art forms and draw upon a range of visual influences and film culture.



As well as making solo work, Kerryn and Tina have collaborated on a number of performance projects.


You’re in a room. It’s dark. You’re laying on your side on a soft surface. You feel heavy. You hear footsteps. You open your eyes and see the world on its side. You’ve seen this before, not often, but sometimes. You don’t remember, but everything is familiar. You don’t recognise the room you’re in, but you’ve been here before.


An intimate performance for two guests, replayed by two performers.

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