About
We are a collective of nine artists.
Te Palandjian
GARDEN CRATER, 2023 Plaster, dirt. Front to back: 69 x 28 x 12,” 67 x 28 x 11,” 66 x 27 x 14″
Te sculpts using the mark-making movements of digging. Her work, being as much about process as it is about materiality, attempts to transform naturally-sourced and man-made mediums—casting with them, compressing them, or revealing features of them—to uncover the critical role that materiality plays in the context of archeology, landscape art, and the politics of the garden. By re-processing materials over and over, you are pressed to analyse the initial gestural actions. Through her work she asks, what does it mean to study a dug artifact, when the artifact is the hole itself? And thus, what happens when the phenomenology of hole-digging and the maker of the hole are the focus of analysis and critique?
Joy Stokes
And I went out the same door that I came in, 2023; 90 X 175 CM, 90 x 150 CM, 90 X 170 CM
Joy’s practice is an exploration of human physicality and the constant hum that exists within our bodies. By using her body as a material, she explores embodiment and traces. She considers the significance of physically occupying space and our relationship with the objects that hold us and in themselves, can be seen as representations of the human form.
The indelible marks that she makes using the movement and weight of her body through different print processes mean her works become containers of energy and the physical self in a way that could be seen as a form of self-portraiture. Stokes is interested in the edge, the boundary between internal and external and particularly skin.
Joy’s works carry symbols and emblems, representations of rituals, superstitions, and boundaries or of bodily traces through familiar objects. Through intuitive mark making, she tests how one can use automatic drawing and writing as a stream of consciousness, with words mirrored or illegible as a form of protection from the outside world.
StevieRay Latham
Naomi 1
StevieRay Latham (b. 1992) works across drawing, painting, print, sound, text and video, investigating the ways that cultural narratives & myths shape our understanding of the world around us, surfacing alternative histories and futures in order to re-consider the present.
Thinking of narrative & myth as ‘lenses’ that alter our view of the world, Latham combines historical, philosophical, archival, folkloric and literary references, layering, manipulating and distorting them in order to unearth hidden traces running through the substrata of cultural memory.
Whether layering sci-fi movie stills with archival photographs, using A.I. to generate imagined landscapes or stretching Baroque concertos into ambient soundscapes; information, images and sounds are filtered through technology before being re-contextualised within analogue and physical processes, creating environments where notions of reality are re-examined and new relationships are created.
StevieRay Latham is an artist and musician based in London, UK. He holds an MA in Fine Art from Camberwell College of Arts (UAL) and has exhibited and performed across the UK and Europe, whilst his works are held in private and public collections. He is a member of Critical Edge Collective, a group of artists committed to collaboration, experimentation and research-based practice.
Eleanor Street
At the Edge of Vastness (2023) concertina book made from laser etched woodcut on Awagami hosho paper, with laser etched plywood covers 21x21x432cm
Eleanor’s work explores our relationship to knowledge and information. She engages with questions of responsibility, agency and authority in both the personal and public spheres, reflecting on trust and reliability in relation to both the information from others that we engage with and the knowledge we develop ourselves through experience, learning and memory.
Consideration of the different ways an idea, intention or piece of information are communicated and understood, reflecting on the ways our personal knowledge and experience affects our own interpretation of information, is intrinsic to Eleanor’s work. With a preoccupation with materiality and the haptic, she is interested in the ways we seek to document and preserve the fleeting or intangible, resolving digital or ephemeral information into analogue artefacts, as tangible, tactile evidence of a moment, an idea, or a memory.
Eleanor is a London-based artist and member of Critical Edge Collective and FOLD Art Collective. She graduated an MA in Fine Art from UAL Camberwell in 2023 and was awarded the East London Printmakers Graduate Marketing Award and membership of the Printmakers Council. Her previous career was as a Civil Servant, mostly at the Department for Culture.
Susan Askew
Museum of Human Violence, 2024
Susan (alisas – Nasus Y Ram and Weksa Nosmada) graduated from the MA Fine Art at Camberwell College of Art in 2023 and is a candidate for the artistic practice-based Ph.D at Kingston University. She was born and grew up on a farm in North Yorkshire and can trace animal farming on both sides of her family for generation. This experience influenced her to focus on violence to the farmed nonhuman in her work. She takes a radical, utopian futurist approach in which future humans/chimera look back with incomprehension at their treatment of the farmed nonhuman. The Museum of Human Violence is a central concept in her work. Opened in 2065, the museum houses artefacts from the past, as well as organises events in the mid-late 2060s that have the function of both remembering and honouring the victims of past violences, and celebrating peace in 2065: https://themuseumofhumanviolence.com
Susan is part of Critical Edge Collective, and recently set up SEED_2065 which is a futuristic visual art project involving 21 artists; set in 2065, where future beings work to heal ancestral damage for ecological flourishing. https://seed2065.uk
Matthew Emery
“Say No 24” Silkscreen ink on Heritage Paper, 83x70cm
Matty is a London-based artist originally from Teesside. His work is a critique of the methods of control used to dominate and exploit workers, particularly in Western politics on behalf of the controlling class of Anglo-American elites. He also draws on Antonio Gramsci’s concept of “common sense” a hegemonic ideology that frames success as the result of individual hard work – while ignoring systemic inequalities related to race, gender, physical ability, and the obvious advantages presented to those born with existing wealth.
On the whole, his work challenges the global economic system that thrives on division, where power feels increasingly abstract and collective resistance is undermined. In this fractured landscape, the working class is often turned inward, competing with one another rather than confronting those in power.
Matty’s artistic output is situated somewhere within the expanded field of printmaking, frequently incorporating elements of print, sculpture, painting, and found materials. In Regime Change, a recent large-scale painting, he constructed what he describes as an “anti-billboard”, made from OSB panels layered with gestural acrylic and spray paint, collaged with torn billboard paper, posters, and archival material sourced from interviews and independent media. He then printed imagery and text onto the surface before additional layers were added, and shredded New York Times pages were cast onto the work to represent the censorship and suppression of inconvenient information.
Matty’s visual inspiration is drawn from his surroundings; decaying walls, billboards and streets accompanied by old withered posters and graffitied marks and phrases. In these remnants, he finds a visceral aesthetic of fatigue and erosion that mirrors the lived experiences of the working class, locked in a lifelong sentence of labour and struggle.
Jane Hughes
A contemporary interdisciplinary artist, Jane’s practice is research-led, narrative-driven and figurative, engaging in dialogue with the language of photography and film.
Through a process of deconstructing and reimagining familial and found images through painting, drawing, the moving image, and installation, Jane places individuals who have been and are obscured, invisible, and absent from history back in the frame. Her work explores themes of authority, illusion, and the corruptibility of moments, posing questions about representation, the archive, and who holds authority over truth. She seeks out ways to tell alternative stories that rely on the traces of different historical data, spotlighting the histories we are told and directing our attention to consider where power resides and who holds agency.
A London-based artist, Jane studied at Chelsea College of Arts and was awarded a scholarship for her master’s degree in fine art: Painting at Camberwell College of Arts in 2023. She currently has a shared studio at the Elephant & Castle and is a member of the Fold collective and critical edge collective. Her work has been exhibited widely, and one of her paintings is currently on display at the Royal Academy’s Summer Exhibition.
Carmen Van Huisstede
All That Is Contained, 2023, Mixed media (exhibition view)
Carmen Van Huisstede is a multimedia artist based in London whose work navigates the intersections of perception, control, and the politics of information systems. Rooted in both conceptual rigour and material sensitivity, her practice invites viewers to reconsider the structures that shape their engagement with the world — from systems of knowledge and surveillance to the quiet presence of memory embedded in the everyday.
Drawing on hauntology as a conceptual framework, Van Huisstede works with found and domestic materials to evoke the layered temporalities of personal and collective histories. These recontextualised objects operate as sites of disruption and reflection, surfacing themes of obsolescence, nostalgia, and the emotional labour carried by material culture. Her sculptural and spatial interventions render the familiar uncanny, offering intimate encounters with the spectral residues of the past that persist in the present.
Originally from Romania, Van Huisstede holds BA and MA degrees in Fine Art from Camberwell College of Arts. She has exhibited in the UK and Romania and is a member of Critical Edge Collective and FOLD Collective — two London-based initiatives centred on collaborative practice and peer-led support.
Nele Bergmans
Flight to Nassua, 2025, Steel, glass, aluminium, breezeblock, chains
Nele Bergmans is a sculptor and installation artist based in London. Her work explores themes of fragility and precariousness through material tension. Often beginning with a historical image or anecdote, her practice weaves poetic, open-ended narratives that trace the consequences of past actions—such as war or environmental degradation—into the present.
Material contrasts are central to Nele’s language: heavy and light, crude and delicate, natural and manufactured. Her installations are carefully composed to create quiet tensions between objects, using spatial relationships to evoke emotional and structural dialogues. Glass, with its inherent fragility, is a recurring material in her work. By slumping it into soft, fluid forms and pairing it with rigid steel, she explores the interplay between vulnerability and strength, the organic and the industrial.
Born in Belgium, Nele lives and works in the UK. She holds an MA in Fine Art from Camberwell College of Arts and previously studied architecture at KU Leuven. Her work has been shown in the UK, Belgium, and Pakistan, where she participated in the 2023 Jhuley Lal Residency, supported by the British Council. She is part of Critical Edge Collective, a collective of London-based artists focussing on collaboration and peer-support.
Critical Edge Collective 