Liam is a practising artist and curator based in Nottingham. His recent projects have included co-curating the group show and tutoring foundation students at New College Nottingham.

Jeffery Baker is interested in Flat pack furniture and nice kettles. Currently, he's camping in the peak district.

Katrine Margaret Brosnan likes cheese and tea. She just spent NINE POUNDS in tesco on a barbeque. Hopefully it will be worth it.
If you want to meet her, come to the tether festival, specifically Pipe Dream which she is co-curating and may dress up as a panda for.

Alexandria Clark is co-curator of Throes exhibition with Charlotte Pratley.  "An exhibition exploring the darker side of human nature and the human condition, to provide an antidote to easily-viewed, unchallenging artwork shown in pristine white galleries. "

Alexandria will also be collaborating with Matthew Cooper in a live performance piece. 
"Two newly graduated artists from Nottingham Trent, who usually work individually and quite intravertedly, plan to work in response to each other and create their own world behind a glass shop front.  An exploration of freewriting and improvisational sculpture."

Sometimes when you try to understand a thing it seems that noise and anxiety hide in it’s every detail. In my artistic practice I attempt to make my way out of confusion.

Knowing that I will never make full sense of things has become an essential part of my work. It is the journey rather than the intended destination that has become most significant.

In current projects I am attempting to explore what happens when theoretically simple systems are applied to increasingly complex conditions.

Hugh is the co-director of the Tether Festival. His work can also be seen in various venues during Tether Festival including the project space in the first week of the festival and Lost in Pace.

You can visit him online at

The glorification and often all too volatile world of the news, has left us with a jaded view on situations and circumstances; painting a frequently unrealistic view of what is going on around us. The media creates this nonsensical vision, one that no longer appears real; a sumptuous propaganda that seems more fantasy than reality. Making a comment rather than a critique, the core focus of my work centres on this socio-political theme; with the work often taking its ideas from current stories I feel strongly about and with which I feel I can create visually striking work.

I often find myself increasingly frustrated by what we are faced with in the media battleground of today’s society. We are force fed a bombardment of vulgar, sensationalised stories and images that are all too often biased opinions of major media moguls. Faced with these all too pressing social and political issues, I find myself attempting to understand and unpick these problems by creating work that can offer up an honest, thought provoking and sometimes humorous look at the current struggles of our idealistic world.

I want to re-create extreme situations - absurd and theatrical scenes that question issues of social and ethical injustice, sometimes in a satirical or playful manner. Using readymade objects and manipulating them in a way that seems almost ridiculous – as can be seen in the piece Happy Holidays, where an animatronic toy has been dressed up to take on the role of a Guantanamo Bay prisoner.

I want to ignite people’s interest by creating a link between the audience and the art, be it in the physical materials used and the relationship the audience may have with such an object, or within the ideas themselves and how they relate to what it is they are being shown.

Rebecca is the co-curator of Pipe Dream.

"Discarded furniture is a common and familiar sighting. There is a sadness surrounding it. It has been rendered use-less and therefore valueless. It is in that value judgement that my real interest lies. Someone made the decision that it was now obsolete and put it out as waste.

I have always been interested in value, especially its relationship with time. I am neurotic about money and make an association between the time I spend working, with the money I spend on objects on an everyday basis. My work aims to explore this neurosis with particular reference to what I deem value for money and a waste of time, as for me, they come as a package.

Each installation acts like an equation; the found object represents value and the performances, recorded in real time, demonstrate my personal frustration with wasting time."

'We sail in a ship and the timbers are weak
Through the storm clouds the rainbows the rainbows we seek
The storm when it breaks we shiver with fear
In our bowells we do know we'll face no new year
The sea rips us open like a vice cracks a nut
Like a bum is cut down by a left upper cut
We sail for horizons that one day will end
To sleep with the fishes on that we depend'

Chapter 37

I'm in wild,come get me x I got something cheesy for ya boy... But you can't eat it or even smell it. Crazy like brandon flowers-brother says 'we really think god's a dude'. Wankoff.x I'm in el studios,where you?x Yeah of course,i'm well the ceramics bit round the corner, come suprise me x Jonathan stilton- i feel like the most rubbish ive ever felt in my life. How are you today? Did you get sexy with that girl? Did you have fun last nite?!! Im booking my tkt home, shall i leave sunday or can i stay till monday? x Ok thats fine, i should prob leave sunday anyway. I shouldnt have gone backs to my exs, bad move, forgot how bad he is in bed. And i now have the most grotesque love bite on my neck. What a fool i am! x Oh no, the korean girl making all the noise on the potters wheel is tina and i've stolen all her tools!eek x Sure can do x Are you coming out tonight? I bought the best records today by the worst artists x Hello helmm its innovo be lack Why don't you come to matts after work tonight. Its alright. You'd love it. T...

Drawing for me is a very natural starting point. I draw rather than write to express my feelings. No that’s not true, my feelings come out of drawings. I look at a blank paper in front of me, and I seek. Lines appear, and I trace them. It’s like when you look at the shadow for ages in a sunny day. After gazing at your dark self on the ground for ten seconds, you look up, and you can find yourself in the sky. This is a children’s game we play in Japan. It’s called ‘Ka gé okuli’ meaning ‘shadow sending’. That’s what it is; when I draw I’m projecting myself to nothingness.

“Curiosity is natural to the soul of man and interesting objects have a powerful influence on our affections.”

Daniel Boone

With a single act of transformation my work seeks to alter the emphasis in communication.  Through manipulating composition, either in time or two-dimensionally, is it possible to transform a sound, gesture or speech through the media of video and sound installation?

By exposing action and reaction simultaneously my work investigates both the role of the speaker and receiver in any given dialogue.  I am interested in the concept that a listener alters the meaning of the language that he/she is presented with through subjectivity.  I want to explore what these (mis)interpretations and distortions can reveal about those communicating and communication as a whole.

Narrative is not autonomous, or to be considered insular or separate from reality. It would be wrong to subsume fiction or fantasy in the real world, but is not life, one long series of narratives?

Aaron Juneau and Jonathan Watts' video installation 'A to B and back again can be seen from November 12th.

Aaron has also curated a publication of critical writing which will be available during Tether.

'Our dream world and our everyday life never intersect, they can run parallel to one another but at no point do they ever combine to create that world we lived in as children, where anything was possible, where we believed our toys lived their own secret lives. Our imagination as adults is enclosed in our minds, where we turn to for recreation, in our daydreams and nightmares. But where does fantasy and reality separate? In truth, never, fantasy recombines and inverts the real, but never fully escapes it. It is this familiarity of the fantastic, things which seem real through their similarity to reality, that you can almost believe it, as if you are living in 'your waking dreams'.

Samuel Mercer is the co-director of Tether Festival. He also co-curates Lost in Pace.

For more information, click here.

He's lost it this time

ignoble ceremony of initiation?
was no house beside the car-park, only a hill of rubble. He went

“…The blood settles on the underside, making the skin reddish purple…a condition at its most prominent about ten hours after death. In areas where the body’s weight rests, the blood is squeezed out, leaving the skin grey…millions of bacteria in the gut [eat] through the lining of the digestive system and then invade the rest of the body…Putrefaction spreads as the bacteria proliferate; the veins become outlined on thighs and shoulders…The front of the body starts to swell…Within a month or so, tissues liquefy and the main body cavities burst open.”

Through the language of video, I create nonlinear narratives based on human dramas.  I am interested in depicting insolvable situations (often communicated through the use of cyclical loops) with characters both accepting and rejecting their position, conflicting yet coexisting like an interminable tug of war.  This push/pull tension is inherent in my practice.

My work is orchestrated with a deliberate sense of both structure and collapse:  repetitions reveal permutations; events continually progress and regress; characters find themselves in a constant state of limbo between hope and despair.

We reach beyond ourselves to try and grasp this other, and come back with something but never the otherness that we desired... Total satisfaction, like total knowledge is unavailable... This desire constantly returns and returns in pursuit of its impossible object.

- Cohen and Taylor

We continue to search ad infinitum.

It’s extraordinary, he tells you almost nothing. He is almost absent. He gives you bits of reality in its raw state, which crosses his mind. No philosophy, nothing solemn; just incidents of intimate life, accidents of daily living. But a whole world of sentiments. We forget that world too much. Even a slight feeling can assume great importance. We think it is necessary to perform high deeds, but the web of daily life can be just as beautiful.

What need is there for great deeds?

Antoni Tapies on Russian dramatist Anton Chekhov.

My work is not about big important truths.
It is about small important truths.
And lies.
It is a web of incidents and the importance of a slight feeling
It is the feeling you get at about 4 o’clock on a Sunday.
Or the scittering crisp packet along the pavement that sounds like rhythmic walking.
It is the pile of Smarties in a concrete car park.
Extra Ordinary.
It is a guide to noticing, a walk through familiar territory.
And wondering if that has always been there and you just never noticed it before.

As a way to a man’s heart is a large fantastic meal, Theresa Wrigley believes a way to a passionate person’s mind is to indulge their gluttonous senses.

Wrigley (not related to the chewing gum) creates short films which aspire to find the place where music and visuals meet. A place previously discovered by the likes of experimental animators Norman McLaren and Len Lye, and made familiar to us by enchanting music video directors such as Michael Gondry.

In her latest piece drum beats mimic and accent the routines and rituals of a boring lifestyle. The repetition builds into a cacophony of layered images and rhythms before breaking free from the monotony into glorious change and freedom.

Amanda Young is the maker of Vortex LW 198kHz. She is experienced in planting a seed of anarchy through her years of Playwork and has taken the site of Balloon Woods Adventure Playground as the home for her latest art piece. This is a public site that has its distinct atmosphere established by those occupying the space.  

Interested in the creativity of the hobbyist she explores ham radio; the tools of the trade, the science of radio and it’s ephemeral quality. Combining site with object and sound within a space this is all constructed around making a bit of intellectual noise in a giant shipping container. The resonance of the steel container will become a vital part in describing the piece. Once rejuvenated this shipping container will become a used space for the children at Balloon Woods Playground. 

Supported in kind by Nottingham City Council Play Service.













Tether Studios.