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Such’s sculptural works take on both a light-hearted and metaphorical view of nature and culture. Beneath the veil of humour her work juxtaposes objects, situations, materials and ideas. Recent sculptures explore the physicality of time, gender roles, and the substance of items – altering their utility, challenging the viewer to consider and reassess the meaning and fabric of both the abstract, and the familiar.

Her exploration into the seductive, tangible nature of objects, materials and elements is paradoxical, as her sculptures often express the fragility of failure. Such’s choice of objects gives a discordant jolt to the viewer; symbolic meanings arise, surprising scenarios create an inharmonious friction. Her inventions and arrangements always amuse and question.

Since graduating from NUCA – Such has been involved in a vast array of creative endeavours, taking part in a Young Artists Residency at Wysing Arts Centre in 2012- where she was tutored by Turner Prize winning artists; as well as having the opportunity to and give a short talk at the Tate Modern. In 2013 she received a grant from the Eaton Trust for the making of her award-winning Lead Balloon sculpture.

In 2015-16 she worked as a freelance mould maker and assistant for established artists Raqib Shaw and Jason DeCaires Taylor. Throughout her artistic career Laura has worked as a freelance sculptor and prop maker in the events and theming industries.

In recent years- Laura has spent her time between enjoying travelling the world, and working as an organic gardener at idyllic settings on the beautiful Suffolk coast. Although this time has meant her practice was left to the wayside- she remains inspired by her travels and her experiences which feed her sculptural practice. For the past year, Such has been employed by the Bronze Craft Foundry in Attleborough where she specialises in mould making and wax work for well-known and famous artists and sculptors. Laura is currently working on a new body of works from her studio in Halesworth, Suffolk. Her works are kept in Private Collections throughout the UK.

Website: www.laurasuch.co.uk

Telfer Stokes (born 1940) is a Scottish artist and publisher.

The son of Margaret Mellis and Adrian Stokes, he was born in St Ives and studied at the Slade School of Fine Art. He pursued postgraduate studies at the Brooklyn Museum Art School after being awarded a Beckmann Fellowship. He taught at Reading Art School and the Bath Academy in Corsham and exhibited his paintings in London, including a show at the Serpentine Gallery. In 1971, Stokes founded publishing firm Weproductions, which produced artist’s books; from 1974, he operated in partnership with Helen Douglas. In 2002, Stokes moved to East Anglia to care for his mother. He redirected his focus to sculpture, which he exhibited at the Kettle’s Yard open house in 2008 and at shows in various galleries.

Website: www.telferstokes.com

Sara’s practice is defined as conceptual and research-based and consists of several strands. She combines serious issues with humour and playfulness materials are transformed into simple, quirky, often multi-sensory sculptures and installations. Some works are used as site-specific interventions, ranging from subtle experiences to the more extreme intrusion of public spaces.

My practice revolves around the materiality of sculpture. There is an engagement with tangible materials and an affluence of texture. By manipulation and forging out the plasticity of disparate materials, I create unexpected juxtapositions of coalescing assemblages that propose a tacit meaning and understanding but evade a single reading. I seek to engage the viewer and simultaneously disconcert the perception.

I have created several out-door, site-specific artworks, accessible to the public. In each case, there was minimal intervention with the immediate environment and all trace of a presence became absent upon removal.

Instagram: @sian_okeeffe

Facebook: @SianOkeeffeArtist

My main practice is in dyed and painted textiles, designing and making one-off scarves from silk, linen and velvet.

Originally inspired by traditional Japanese design and textiles I now find myself increasingly engaged with, and influenced by, the Suffolk coastal landscape.

This has led me to explore the use of mineral and plant dyes and to reference the natural environment in my work, while always being conscious of the need to re-use and recycle.

Zoe Martin explores the perennial conflict between the individual as a member of society and
the individual as a unique being. The desire to protect the fragile ‘self’ from contamination by
contemporary consumerist culture, Its refusal to be cloned reflects the absolute authority and
the inherent inner strength of the individual.

Website: www.saatchiart.com/zoemartin

In terms of creative experience, I have worked in glass mosaic for 25 years, making small domestic pieces such as mirror frames, paving slabs and bathroom splashbacks, using my own original designs.

Recently I have had more time to explore drawing and painting, including weekly life drawing sessions, courses with Liz Monahan on drawing, Martin Laurance on watercolour and Katarzyna Coleman on developing paintings from sketches.

Being somewhat of a rare breed of artists, a founder sculptor, Hudson’s practice is open to endless possibilities unlike few others. Having been through the whole casting process from birth to realisation, allows for a more intimate and creative aspect to his work. Hudson’s sculptures, concerned with the split between people’s interior emotional, psychological and bodily being and their exterior presentation,explore a fascinating space between being human, all too human, and the options for being human. His sculptures have varying disguises, from despairing to hopeful, both dark and vibrant, portray an unashamed loss of hope and disquieting perversions, with an all so distant joyful farewell. It’s not always pretty and fanciful but the reality is that it lives amongst us. Today, his sculpture suggests, post-human bodies are now the new normal, relevant in only a fantasy land.

Website: www.craighudsonart.com

My practice is an aggregate, a combination of several process-based ontological investigations and individual elements which sit densely packed together to form a whole. These fragments represent intertwined research-based lines of enquiry through deep time, planetary shaping processes and exploring where the Anthropocene sits within this discourse. My approach is formed through interdisciplinary methodologies, all united in working in a site-responsive way.

It is through these applications that I seek to disrupt human centric perspectives of the Anthropocene, by taking its anthropocentric constructs and dismantling them via their limitations. To reveal new readings of the planet, ones that seek to deconstruct the deeply embedded nature/culture divides.

My processes are governed by key phases of research and analysis of theoretical and cultural complexities across boundaries of science, culture, and the humanities, an exploration in order to lead to the genesis of interdisciplinary results. It is what Robert Smithson defined as ‘abstract geology’ tracing connections between the geological, the body and mental processes.

Whether investigating the planet as a whole, a specific geomorphological process, a locality or a single physical fragment, I examine through enquires across temporal and spatial scales – these create the foundation of my process.

Website: www.kaitlinferguson.com