The Interactions Artists are:

Dani Abulhawa, Gisele Bone, Gillian Dyson, Tim Jeeves and Sarah Spanton.

Dani Abulhawa has presented her work in several platforms, as interventions into public space and also in festivals, including Tempting Failure (2012, 2013), Poolside Emergency (2011) and Fierce Festival (2012) when she performed as part of Ron Athey’s Gifts of the Spirit. Dani leads professional development workshops; such as for artist Kai-Oi Jay Jung as part of Shadow Dance, (2013, The Bluecoat). She is Senior Lecturer in Performance at Sheffield Hallam University, an HEA fellow, and has presented her research at over 10 international conferences in the UK, continental Europe and North America. Dani’s work is located within the mixed-modal discourse of play, the built environment and gender.

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Gisèle Bone is an artist, doctoral researcher, project manager and learning facilitator.  Her practice consists of examining areas in between the rural and the urban, and mobility between these areas using the bicycle.  Documentation is through still and moving image, sound and writing: recording conversations had whilst cycling.  Gisèle is in the second year of her practice-based PhD at UCLan in Preston, Lancashire and lives in Hull, Yorkshire. She has worked for national and regional organisations in implementing integral public art within healthcare buildings, writing public art strategies and character appraisals of public spaces, devising educational programmes about the built environment and is currently the Children’s Art School Co-ordinator at Leeds College of Art.  Her work as a learning facilitator has taken her into primary and secondary schools in both the UK and Germany.

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Image credit: Julie Corbett

Gillian Dyson is an experienced visual and live artist based in Yorkshire. Her work explores site, process, and memory and has been exhibited internationally, including National Review of Live Art, Glasgow; Visualeyez Festival, Edmonton, Canada and Kaapeli Helsinki, Finland. Often this work is sited outside of the gallery or theatre, and engages with a wider audience; in a field, a street, or even a swimming pool. Gillian’s research currently focuses on the use of the object in performance, and she is undertaking PhD research in Theatre Studies with the University of Glasgow. In addition, Gillian has directed a number of professional and student public performance works for festival contexts such as Latitude and Light Night Leeds, and has a substantial portfolio of socially engaged practice.  Gillian is the Course Leader in BA hons Performance with Leeds Beckett (Leeds Metropolitan) University.

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Image credit: Blessing Oyebanji / Gillian Dyson

Tim JeevesOver the last ten years has made performance work in galleries, theatres, and public space. He is a co-founder of the Grants for the Arts collective which, until its closure in 2012, ran a series of Artists’ Sports Days to draw attention to the redistribution funding away from the arts to pay for the Olympics. He has a keen interest in disability arts, directing the learning disability company RAWD’s performance ‘How to Fall in Love’ in 2013, and regularly contributes to Disability Arts Online. Since 2011 he has directed the Arts Council and Bluecoat supported Giving in to Gift festival in Liverpool. He is in the final year of a PhD at Lancaster University.

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Image credit: Grunts for the Arts: Artist’s Sports Day. Charlie Ryder’s Celebrity Sack Race

Sarah Spanton is an artist and performer making work for around 25 years. For many years her interests have been in making connections and enabling dialogue and collaboration between artists, across geographical boundaries and across disciplines. She has formed the artists network New Work Yorkshire in 2003, creating opportunities to show work, test out ideas and discuss issues. Spanton currently works as director of her organisation Waymarking, where she makes artworks in a range of contexts and is involved in arts infrastructure development and facilitating dialogue across boundaries (such as artist and non artist). Her recent practice in the last 5 years has shifted to encompass socially engaged performance work; exploring how artists can work with communities to explore their urban living needs, the performative in place-making and place-shaping and the relationship between artist and social activist.

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Image credit: Richard Sobey

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