Madeleine Collie (b. 1978, Australia) is an artist and curator who lives between Folkestone in the UK and Melbourne /Naarm. She has a Masters in Curatorial / Knowledge from Goldsmiths, London and is a current PhD candidate in the Curatorial Practices programme at Monash University, MADA, where she has a three year scholarship for her project centred on artist led new institutional forms. Her work takes the form of curatorial projects, institutional critique, pedagogy, performance and poetic practice often/always working in collectives or collaboration with others. From 2016-2019 she was curator of the award winning collective memorial project: The Ash Project. Recent work includes Rumour of Waves with Amy Sharrocks (2020), Timely Readings, A Study of Live Art in Australia with Sarah Rodigari (2019), Something Held in the Mouth (2019), Daylighting (2018), The Ash Archive (2018), Marrickville School of Economics, with Bek Conroy (2020 and 2017), States of Wake (2017). She has curated and presented work in a range of contexts, including Tate (UK) Arts House (Aus), Performance Space, (Aus), LADA (UK), Kent Downs (UK), Custom Food Lab (UK), Whitstable Biennale (UK), Wellcome Collection (UK), Folkestone Triennial, (UK), Connexions Improbables (Spain), Substation Gallery (Singapore), Cemeti Arts House (Indonesia).

Marta Fernández Calvo (b. 1978, Rioja, Spain) is a Spanish artist based in Madrid she was recently awarded with the 2019 Arts Award by the Riojan Center of Madrid. She studied Fine Arts at the Faculty of Fine Arts of Cuenca and was researcher in Philosophy and Aesthetics at the Italian ministry of Culture. She has recently completed a residency at Delfina Foundation (London) within the framework of the Politics of Food program, which culminated in the presentation of the Casas de Comidas performative dinner and the presentation of the performance Food Chorus at Victoria & Albert Museum. Living in Italy and Ireland for eleven years she developed her practice at an international level. She has participated in exhibitions such as No Soul for Sale in the Turbine Hall (Tate Modern) in London; Utopia Station curated by Hans Ulrich Obrist, Molly Nesbit and Rirkrit Tiravanija for the 53rd Venice Biennale; Friday Late in Victoria and Albert Museum (London), Influx,Reflux, Reflex in the National Gallery, Johannesburg, Crown Shyness curated by Beatriz Alonso for Frac Lorraine (Metz, France) and Marco (Vigo, Spain), To Want to Seem Night at Ca2m (Madrid). She has been awarded numerous prizes for her work both nationally and internationally and has taken part in many international artist residencies.

Rubiane Maia (b. 1979, Vitoria, Brazil)  is a Brazilian visual artist based between Folkestone, UK and Vitoria, Brazil. She completed a degree in Visual Arts and a Master degree in Institutional Psychology at Federal University of Espírito Santo, Brazil. Her artwork is an hybrid practice across performance, video, installation and text, occasionally flirting with drawing and collage. She is attracted by states of synergy, encompassing the invisible relationships of affect and flux, and investigates the body in order to amplify the possibilities of perception beyond the habitual. In 2014/15 she launched the book ‘Self Portrait in Footnotes’ and participated in the exhibition ‘Modos de Usar’ at the Museu de Arte of Espírito Santo. In 2015, she took part in the exhibition ‘Terra Comunal – Marina Abramovic + MAI’, at SESC Pompéia, São Paulo with the long durational performance ‘The Garden’ (2 months). In the same year, she produced her first short film ‘EVO’ that premiered at the 26th Festival Internacional de São Paulo and 22nd Festival de Cinema de Vitória. In 2016, she worked on the project titled ‘Preparation for Aerial Exercise, the Desert and the Mountain’ which required her to travel to high landscapes of Uyuni (Bolivia), Pico da Bandeira (Espírito Santo/Minas Gerais, BRA) and Monte Roraima (Roraima, BRA/Santa Helena de Uyarén, VEN). She completed her second short film titled ‘ÁDITO’. Since 2018 she has been working on the creation of a ‘Book-Performance’, a series of actions devised in response to specific autobiographical texts particularly influenced by personal experiences of racism and misogyny.

Cherry Truluck (b. 1981 London, UK) Originally trained as an architect, Cherry is an artist and chef living and working out of Folkestone (Kent) and Tisbury (Wilts), UK. Through her own work and as chef/director of Custom Folkestone, she seeks to rethink the structures of food production, commodification and communality. She does this through participatory art interventions, curatorial projects and research, creating sensory and site-specific eating experiences, using food as a medium for spatial strategies. Her poetic narratives of the journey from ground to gut unpick the concept of ‘local’. Cherry was a co-founder of international collective ActiveLayers – pioneers of ‘cyberformance’ techniques. Her work is multi-disciplinary, strongly visual and often collaborative. She was awarded a research and residency prize by Maryland Institute College of Art for her work with virtual and gendered space. Cherry founded Custom Folkestone in 2018. The organisation centred on a ‘hyperlocal’ restaurant, connecting to the community through a system of bartering and exchange which allows interaction between the restaurant kitchen and the allotments and smallholdings of East Kent. In 2019, Cherry was a commissioned artist for Creative Europe Platform Magic Carpets, creating Near:Bower, a project connecting people from isolated communities through the experience of a poetic landscape of locally foraged food and drink.