13th August 2020

Dr Jo Milne, Dr Iris Garrelfs, and Dr Anna Walker unite to collaborate with Dr Catherine Clover on a new project for the UK/ Australia Season, 2021.

Dr Iris Garrelfs works on the cusp of music, art and technology across improvised performance, multi-channel installation and fixed media projects. She is interested in the relationship between listening to and thinking about our world. She often uses her voice as raw material, “generating animated dialogues between innate human expressiveness and the overt artifice of digital processing” as the Wire Magazine put it. A pioneer of bringing together voice with digital manipulation in vocal performance at the beginning of the millennium, she has become more interested in low-fi electronics and her relationship with audiences. Her work has been presented internationally, including Tate Britain, National Gallery London, Royal Academy of Arts (London), fruityspace (Beijing), Palazzo delle Esposizioni (Rome), MC Gallery (New York), Transmedia Borders (Mexico). Residencies have included Grizedale Art, Institute of Modern Art Celje (Slovenia), Onassis Cultural Centre (Athens). Garrelfs is the pathway leader of the MMus Sonic Art at Goldsmiths, University of London where she also co-heads the Sound Practice Research Unit. She also edits of the open access journal Reflections on Process in Sound. Recent publications include “Override: An experiment in interrupting the congruity of audio-visual relationships” for SoundEffects (2019) and “Digital Musical Instruments as Probes”, co-written with Koray Tahıroğlu, Thor Magnusson, Adam Parkinson and Atau Tanaka for Organised Sound (2020). Upcoming projects include “The Virtual Listening Wall” at the Royal Musical Society´s 56th Annual Conference and a performance of “Lauschen” at Longplayer Day, York Sculpture Park.

Dr Anna Walker, is an artist, writer and researcher, working specifically in moving image and sound. She has been exploring trauma in her arts practice research for many years. She was awarded an MA in Fine Art from Southampton University in 1998, and a certificate in Psychotherapy from CBPC, Cambridge, in 2010. An interest in the effects of trauma on the body led her to a PhD in Arts and Media at Plymouth University, which she completed in May 2017. Her arts-practice utilises personal experiences to facilitate a greater understanding of memory, trauma and its wider cultural implications. Since completing her PhD, Anna has been incorporating performance into her arts-practice, bridging technology with the spoken word to research memory, and identity. Storytelling becomes a method to seek alternative narratives for the future, in line with Simon O’Sullivan’s concept of future fictioning (2019) or Donna Haraway’s notion of ‘speculative fabulation’ (2013).

Recent exhibitions/ performances: ‘For These are my Mountains’, sound installation, Dundalk, Ireland, 2019. ‘Six Fragments’, and ‘Breathe Wind into Me: Chapter 1’, Screening and presentation at INIVA, London, February 2019. ‘Breathe Wind in to Me’: Chapter 1 and 2. Making Space at Fabrica Gallery, Brighton. January 2019. ‘Remembering’ (2017), Northampton University, September 2019. ‘Water binds me to your name‘ (2017-2020). ‘Empty Pro(e)mises,’ EMST ((2020/2021). Sound Within Bodies: Screening of ‘Six Fragments (2017)’. Musikken Hus, Aalborg, Denmark, August 2019. Performance, The Harp of Dagda, London, February 2020. Macha’s Body in Pain, NSU/Trace July 2020; DAR: Digital Artist Residency, 4.9.20-30.11.20.,

Dr Jo Milne is a visual artist, working across painting, drawing, sculpture and digital media. Her work considers ways to visualise the invisible, looking at the methodologies used by scientists and artists to bring into view structures and paradigms that lie beyond the naked eye. Her interest lies in creating new visual tools to consider the invisible structures, both physical and conceptual, that surround us, creating paintings, installations and artist books that act as catalysts and tools for dialogue. She studied at Fine Art at Edinburgh University and Printmaking at Camberwell College of Art before going on to develop her PhD in Fine Art, awarded in 2016 by  the University of Barcelona for her thesis “Invisible Structures” that considered methodologies used by scientists, artists and visionaries to visualize the invisible. This research involved collaborations with programmers and scientists at CitiLab (Cornella), the VHIR, Barcelona and the Chemistry Department of the University of Barcelona.  Her work has been presented nationally and internationally, including Royal Scottish Academy, Talbot Rice Art Centre (Edinburgh), Fundació Vila Casas (Barcelona), Musée Cantonal de Lausanne (Switzerland), Château de Venthône, and Museu de Ciencia de Terrassa. She has undertaken residencies at the Irish Museum of Modern Art (Dublin), the Museu d’Art de Sabadell (Sabadell) and is currently artist in residence at the IRB in Barcelona. She did a teaching exchange at Massachusetts School of Art (Boston) and has taught at Duncan of Jordanstone College of Art and Design, Winchester School of Art, Europaïsche Kunstakademie (Trier) and University for the Creative Arts Canterbury.  She currently lectures at at the University of Barcelona and EINA, Centre Universitari de Disseny i Art. Recent exhibitions include Una tropa de sensacions errants, La Sala (Vilanova i la Geltrù), No faig prediccions sino excuses, Fundació Vila Casas (Barcelona), Cosmological Confabulations, Hannah McClure Centre, Dundee, Drawn Away Together, Talbot Rice Art Centre (Edinburgh) and Unbound, Herbert Read Gallery (Canterbury)   /

Dr Catherine Clover’s multidisciplinary practice addresses communication through voice, language and the interplay between hearing/listening, seeing/reading. Using field recording, digital imaging and the spoken/written word she explores an expanded approach to language within and across species through a framework of everyday experience. With listening as a key focus and the complexity of the urban as a shared sonic space, the artworks prompt transmission and reception through the fluidity, instability and mobility of voicing and languaging. The artworks take several forms including texts/scores, sound, installations, sound walks, performance, readings, external public artworks. She studied at Wimbledon School of Art and East London University, and arrived in Melbourne Australia as visiting artist through Gertrude Contemporary in the 1990s. Her work has been exhibited and performed regularly both within Australia and internationally since the 90s. She teaches in Melbourne at Swinburne University (MA Writing), RMIT University (MA Public Art) and holds a practice led PhD (Fine Art) through RMIT University.

Recent/current projects include
Animal Gaze, London Metropolitan University, UK; Music and Other Living Creatures Series, Café Oto, London, UK; Sound:Gender:Feminism:Activism, Tokyo University of the Arts, Japan; Upcoming publications include Ventriloquism and Contemporary Art USA; Inscription The Journal of Material Text (inaugural issue)-Information as Material, Leeds Beckett University UK..

27th July 2020

NSU is hosting their summer workshops and conference online this year. Circle 4, Narrative and Violence is exploring: ‘Written on the Body: Narrative (Re)constructions of Violence(s)’ For more information see:

Hosted by sound artist and composer, Dr Iris Garrelfs,, with presentations by artist, writer and researcher, Dr Anna Walker.; director and choreographer, Fin Walker in collaboration with British television and theatre actor, Nick Holder.

Screenshot 2020-04-22 at 18.12.30

PRINT.ed#6 is a fair dedicated to singular publications, an invitation to speculate about the book in its broadest sense. This annual exhibition of artist’s books and printed matter is an initiative that emerged from the confines of academia to create links between various educational centers around the world and to provide a meeting place for printmaking and the publishing and design of books.