Indigo Ayling is a queer multidisciplinary artist specialising in rapid expressive ink drawing. Building off their work as a disabled life model and figurative artist, Indigo is currently exploring the experience of being witnessed in act of witnessing another. They will be documenting the work of the other performers as well as the bodies of the audience throughout the day.

Laura Bradley creates work that links physical material to abstract sensations and experiences. She shapes her performance by relying on her own internal logic and lived experience of mental health, often experimenting with construction, play and ritual.

Anna Dean is a performance artist. Femme gaze is the motive and material of her practice.

Jennifer Martin’s work focuses on the use of material to evoke context. ‘Cleanse’ will be the second step in a three-part series following ‘Bathe.’ The material in Cleanse (rope, galvanised metal, wood and polyester) represent the beginnings of industry, and the action pertains to domestic labour. Jennifer’s work often focuses on the place of female-identifying people within society, and the dialectic that this position is in flux due to technological evolution.

Sal Morton does not currently have a practice.

As a nonbinary trans femme artist, kat focuses her work on the expression of transness in modern society through a diverse range of media. With a hyperfocus on personal experience, they lay themself bare in their work, documenting her own journey in snippets and flashes of emotion.

Dani Surname is a multidisciplinary artist specialising in Live Art, Photography and Printmaking. Interrogating the contradictions of her queer, neurodivergent identity, Surname’s practice currently explores her Northern and femme identity, whilst challenging the reception of Live Art in gallery spaces. Detritus is Surname’s first foray into event management.

Rosie Vincent is interested in the urban body and the emotional and physical challenges it faces. In particular, Rosie likes to explore the difference between the public and private body. Rosie describes her practice as 'analogue' due to its use of non-digital forms such as personal objects, handmade props and her own remnants. Rosie aims to produce non-confrontational performances about unconventional subjects.