Her Words My Voice (2021)
Cormorant Garamond is a classic font with a modern twist. It's easy to read on screens of every shape and size, and perfect for long blocks of text.
No Telos! (2019)
No Telos is a collaborative artistic research project for exploring the critical role of uncertainty, disorientation, not knowing and open-ended activity within creative practice and during uncertain times. The project considers different tactics for resisting the increasingly outcome-motivated or achievement-oriented tendencies of contemporary culture, by shifting emphasis from a mode of telos- or goal-driven productivity towards experimental forms of process-led exploration, subversive playfulness and wilful irresolution. No Telos was conceived as a counter-measure to the ubiquitous demands to do more and more — faster and faster. This artist's book comprises a series of 'scores' drawing on exercises and practices first developed and tested in Venice. The city is is approached as a live laboratory for artistic research. This highly tactile edition is printed with multiple special features including a screen printed cover, multiple speciality papers, french folds, Risograph printed sections and removable inserts.
Contributing artists: Andrew Brown, Emma Cocker, Steve Dutton, Katja Hock, Tracy Mackenna, Danica Maier, Andy Pepper, Elle Reynolds, Derek Sprawson Edited by: Emma Cocker and Danica Maier
Purchase at Beam here: No Telos!
Grafting Propriety: From Stitch to the Drawn Line (2016)
Grafting Propriety: From Stitch to the Draw Line explores how textile agendas can be addressed without the use of the material. For example, how textile methodology can be recreated in drawing and the drawn stitched line. Using a recent textile research residency and a solo exhibition Stitch & Peacock at The Collection Museum, Lincoln - as the starting point to focus on a particular aspect of Maier's work.
The publication further examines drawings created during an international residency at the abandoned Spode Factory; research projects involving the use of digital embroidery combined with the drawn line; and works using historical popular surface pattern. Featuring photographs of various archival pieces, early and new artworks, and essays from leading experts in the field, acting as a resource and documentation for Maier's exploration of stitch through the drawn line.
Purchase on amazon here: Grafting Propriety or contact me direct.
Her Words My Voice (2021)
Cormorant Garamond is a classic font with a modern twist. It's easy to read on screens of every shape and size, and perfect for long blocks of text.
No Telos! (2019)
Her Words My Voice (2021)
Cormorant Garamond is a classic font with a modern twist. It's easy to read on screens of every shape and size, and perfect for long blocks of text.
Bummock: Tennyson Research Centre (2022)
Bummock: The Lace Archive (2018)
No Telos is a collaborative artistic research project for exploring the critical role of uncertainty, disorientation, not knowing and open-ended activity within creative practice and during uncertain times. The project considers different tactics for resisting the increasingly outcome-motivated or achievement-oriented tendencies of contemporary culture, by shifting emphasis from a mode of telos- or goal-driven productivity towards experimental forms of process-led exploration, subversive playfulness and wilful irresolution. No Telos was conceived as a counter-measure to the ubiquitous demands to do more and more — faster and faster. This artist's book comprises a series of 'scores' drawing on exercises and practices first developed and tested in Venice. The city is is approached as a live laboratory for artistic research. This highly tactile edition is printed with multiple special features including a screen printed cover, multiple speciality papers, french folds, Risograph printed sections and removable inserts.
No Telos! (2019)
No Telos is a collaborative artistic research project for exploring the critical role of uncertainty, disorientation, not knowing and open-ended activity within creative practice and during uncertain times. The project considers different tactics for resisting the increasingly outcome-motivated or achievement-oriented tendencies of contemporary culture, by shifting emphasis from a mode of telos- or goal-driven productivity towards experimental forms of process-led exploration, subversive playfulness and wilful irresolution. No Telos was conceived as a counter-measure to the ubiquitous demands to do more and more — faster and faster. This artist's book comprises a series of 'scores' drawing on exercises and practices first developed and tested in Venice. The city is is approached as a live laboratory for artistic research. This highly tactile edition is printed with multiple special features including a screen printed cover, multiple speciality papers, french folds, Risograph printed sections and removable inserts.
Contributing artists: Andrew Brown, Emma Cocker, Steve Dutton, Katja Hock, Tracy Mackenna, Danica Maier, Andy Pepper, Elle Reynolds, Derek Sprawson Edited by: Emma Cocker and Danica Maier
Purchase at Beam here: No Telos!
Contributing artists: Andrew Brown, Emma Cocker, Steve Dutton, Katja Hock, Tracy Mackenna, Danica Maier, Andy Pepper, Elle Reynolds, Derek Sprawson Edited by: Emma Cocker and Danica Maier
Purchase at Beam here: No Telos!
Topographies of the Obsolete (201,???,)
Grafting Propriety: From Stitch to the Drawn Line (2016)
Grafting Propriety: From Stitch to the Draw Line explores how textile agendas can be addressed without the use of the material. For example, how textile methodology can be recreated in drawing and the drawn stitched line. Using a recent textile research residency and a solo exhibition Stitch & Peacock at The Collection Museum, Lincoln - as the starting point to focus on a particular aspect of Maier's work.
The publication further examines drawings created during an international residency at the abandoned Spode Factory; research projects involving the use of digital embroidery combined with the drawn line; and works using historical popular surface pattern. Featuring photographs of various archival pieces, early and new artworks, and essays from leading experts in the field, acting as a resource and documentation for Maier's exploration of stitch through the drawn line.
Purchase on amazon here: Grafting Propriety or contact me direct.
Grafting Propriety: From Stitch to the Drawn Line (2016)
Grafting Propriety: From Stitch to the Draw Line explores how textile agendas can be addressed without the use of the material. For example, how textile methodology can be recreated in drawing and the drawn stitched line. Using a recent textile research residency and a solo exhibition Stitch & Peacock at The Collection Museum, Lincoln - as the starting point to focus on a particular aspect of Maier's work.
The publication further examines drawings created during an international residency at the abandoned Spode Factory; research projects involving the use of digital embroidery combined with the drawn line; and works using historical popular surface pattern. Featuring photographs of various archival pieces, early and new artworks, and essays from leading experts in the field, acting as a resource and documentation for Maier's exploration of stitch through the drawn line.
Purchase on amazon here: Grafting Propriety or contact me direct.
Danica
Maier
Bio
Danica Maier undertook a BFA in Painting at Arcadia University, Philadelphia, during which she spent a year studying abroad at the Glasgow School of Art (GSA), Scotland. Her time at GSA and in Glasgow was a formative influence and a key reason for her subsequent interest in working as an artist and educator in the UK. She went on to achieve an MFA in Painting from the University of Delaware, USA, and an MA in Textiles as Fine Art Practice from Goldsmiths College, London. She is a Fellow of the Higher Education Academy and, in 2019, achieved an ILM Certificate in Coaching and Mentoring; in 2025 she became a UKCGE Recognised Research Supervisor. Danica is an active member of the NTU Coaching Academy, supporting colleagues alongside her external mentoring and coaching work with independent artists.
Alongside her independent art practice, Danica frequently works through collaborative frameworks, exploring how individual artistic enquiry can be developed alongside shared research, dialogue and collective outcomes. She is interested in forms of collaboration that give equivalent value to individual and collective interests, allowing different practices, disciplines and perspectives to develop through sustained exchange. She is co-lead, with artist Andrew Bracey, of the long-term artistic research project Bummock: New Artistic Responses to Unseen Parts of the Archive (since 2014), which uses artist residencies within archives and collections to investigate overlooked and unseen materials as catalysts for new artworks. She also collaborated with composer Dr Martin Scheuregger on the ACE-funded Score: Mechanical Asynchronicity (2018–2024), exploring disrupted repetition, glitch and line through graphic scores and their translation into performance, recording and vinyl. Read more here: https://echo.orpheusinstituut.be/article/score-mechanical-asynchronicity
Danica is a member of the artist group Returns, alongside Andrew Brown, Joanne Lee and Christine Stevens. The collective has sustained a dialogue since 2014, exploring the problems and possible futures of post-industrial cities and their communities, and the role of making and craft skills within these contexts; Returns emerged from and continues to connect to the international partnership project Topographies of the Obsolete. Danica is also a member of (S)matterings, an artist-research collective with Maggie Ayliffe, Andrew Bracey, Joanne Lee and Laura Onions, exploring ‘studio-ing’ as a mode of artistic and pedagogic enquiry through collaborative practice, writing, workshops and research. With Emma Cocker, she co-led the No Telos research project, exploring artistic process as a journey rather than an outcome. The resulting publication, No Telos!, was launched as part of Convocation: On Expanded Language-Based Practices within the Research Pavilion at the 58th Venice Biennale.
From 2007–2019, Danica founded and led The Summer Lodge, a two-week artist residency held within Nottingham Trent University's Fine Art studios outside term time. The residency created a communal, non-outcome-driven environment for experimentation, making, reading, research, conversation and the development of artistic practice. During the first year of the Covid lockdown, she also established three online artist residencies with artist Louisa Chambers, Swifts, Swallows and Bee Eaters, providing a critical and supportive environment for developing creative practice without pressure to produce an outcome. Danica has also worked with The Museum of Loss and Renewal to co-lead drawing-focused residencies, including Place, People and Time: Drawing into Being in Collemacchia, Italy (2022) and Drawing with Place in Orkney (2023), bringing artists together to explore drawing through sustained engagement with place, people and environment.
Danica's home and studio is based in rural Lincolnshire.
Education & Qualifications
UCGE Recognised Research Supervisor (2025)
PhD by Creative Works, Nottingham Trent University (2025)
ILM level 5 Certificate in Coaching and Mentoring, ILM with Challenge Consulting (2019)
FHEA, Nottingham Trent University (2016)
Goldsmiths College, MA Textiles, London (2002)
University of Delaware, MFA Painting, Newark, USA (1998)
Glasgow School of Art, Painting Department, Scotland (Student Exchange 1993-1994)
Arcadia University, BFA Painting, Pennsylvania USA (1995)
Current Roles
Associate Professor in Fine Art, Nottingham Trent University (from 2017)
PhD Advisor, TransArt Institute for Creative Research, international low residency model, w/ Liverpool John Moores University (from 2024)
Trustee, Backlit Gallery, Nottingham (from 2026)
Governor, North Kesteven Academy, North Hykeham (from 2022)
AHRC Peer Review College member (from 2022)
Previous Roles
Senior Lecturer, Nottingham Trent University, Fine Art Department (2005 – 2017)
Arts Advisory Board member at the Collection Museum and Usher Gallery, Lincoln (2015 - 2020)
Goldsmiths College, Associate Lecturer Postgraduate Textiles, London (2002 – 2007)
London Printworks Trust, Workshop Co-coordinator / Tutor, London (2003 – 2005)
Fabric Workshop and Museum, Studio Assistant, Philadelphia, USA (1999 – 2001)
University of Delaware, Lecturer, Visual Arts, Newark, USA (1996 – 1999)
Exhibitions / Live Events
2026 An Audience of Fourteen, as part of Common Ground exhibition, The Hub Sleaford
A mutualist parasite, meets an unrepeating repeat, Vitrine, Exeter
2024 Score: Mechanical Asynchronicity, Houghton Hall Festival, 10 August.
Re/draw, Beam Edition, Primary Studios, Nottingham
Score: Mechanical Asynchronicity, performance event at Beam, Primary Studios, Nottingham 23 March 2024.
Salo(o)n: An Audience of Twelve, Metal Arts Peterbrough, co-hosted with Kate Genever, as part of her residency “From the ashes we shall be reborn”,
A Score for Drawing-Sound, workshop and live event as part of plotting: Drawing as Thread, Tough, Residue, 17 Jan, International/online.
2023 Salo(o)n: An Audience of Twelve, The Hub Sleaford, as part of ‘Together we are Powerful’, (event based work on the 3 November)
2022 Bummock: Tennyson Research Centre, The Collection Museum and Usher Gallery, Lincoln (with Andrew Bracey and Sarah Bennett)
Score: Mechanical Asynchronicity, Sir Jack Lyons Concert Hall, part of York Concert, York (with Martin Scheuregger)
2021 Score: Mechanical Asynchronicity III, Prix Annelie de Man, International Harpsichordist Festival played live by Jane Chapman, Amsterdam, NL
(with Martin Scheuregger)
Bummock: Tennyson Research Centre, The Hub: A National Centre for Craft and Design (with Andrew Bracey and Sarah Bennett) (upcoming)
2020 Score: Mechanical Asynchronicity, Lincoln Performing Arts Center, (with Martin Scheuregger) Lincoln
2019 Bummock: The Lace Archive, Constance Howard Gallery, Goldsmiths, London (with Andrew Bracey, Lucy Renton and Martin Scheuregger)
Score: Mechanical Asynchronicity, Mansions of the Future, (with Martin Scheuregger), Lincoln
Score: Mechanical Asynchronicity, The Space at Nottingham Contemporary as part of programming for Still Undead; the Nottingham chapter of the
Bauhaus Imaginista international project, 27+ 28 September, (with Martin Scheuregger and the Dark Inventions ensemble), Nottingham
Bummock: Tennyson Art Walk, North Kesteven walking festival, Waddington (with Andrew Bracey and Sarah Bennett)
Bummock: The Lace Archive, with Andrew Bracey and Lucy Renton, Constance Howard Gallery, London
Bummock: The Lace Archive, with Andrew Bracey and Lucy Renton, Ruskin Gallery, Cambridge
2018 re-turning, Airspace Gallery, Stoke-on-Trent as part of the Returns group (with Andrew Brown, Joanne lee, and Christine Stevens)
Bummock: The Lace Archive, with Andrew Bracey and Lucy Renton, Backlit Gallery, Nottingham
2017 There but Different, with Andrew Bracey and Gerard Williams, Cornerstone Gallery, Hope University, Liverpool
2016 In return(s), Sheffield Institute of Art, Sheffield.
2015 Returns, Bonington Gallery, Nottingham.
2014 Stitch & Peacock, solo exhibition at The Collection and Usher Gallery, Lincoln.
2nd Supper Redux, Terry O’Toole Theater, Lincolnshire. As part of as part of the Creating a Scene exhibition, held and organized by the National Centre for Craft and Design. In Collaboration with The Postmethodist’s art group.
2012 Shot, The Broadcaster, Waddington, Lincolnshire.
2011 2nd Supper, Monks Gallery, as part of as part of Lincoln Art Program’s A Working Title; Collaboration with The Postmethodist’s artist group.
2009 Midlands & Tooraloorals, Solo exhibition at GEDOK- The Society of Women Artists Gallery, Gallery, Karlsruhe, Germany.
2007 Unpicked and Dismantled, National Museum of M.K. Ciurlionis, Kaunas, Lithuania. Co-curated with Gerard Williams the National British exhibition for the Kaunas Art Biennial: TEXTILE 07.
2006 Hortus, Surface Gallery, Nottingham, England. Two-person show with Jane Thruley.
2005 Intraducible, Solo Exhibition. Museum/Museo del Barro, Asuncion, Paraguay
Intraducible, Universidad de Artes Ciencias y Comunicación Gallery, Santiago, Chile
Untranslatable, Constance Howard Resource and Research Centre Gallery, London
Adam and Eve it, London Printworks Trust, London. Two-person show with Miranda Whall
2004 Danica Maier, solo exhibition, Indus Valley School of Art and Architecture, Karachi, Pakistan.
Crown & Feathers, solo exhibition, Vox Populi Gallery, Philadelphia, USA
2001 Danica Maier, solo exhibition, Vox Populi Gallery, Philadelphia, USA
Group Exhibitions
2026 Four yet More, General Practice, Lincoln
Common Ground: Sleaford Stories, The Hub, Sleaford
Gathered Leaves, Vibrant Matters, Newark.
Drawing Experience, Drawing Research Network, Loughborough, England.
2024 plotting: Drawing as Thread, Tough, Residue, Gray’s School of Art, Aberdeen, Scotland
2022 Experiential Translation, Sommerset House, London
May Show, X-Church Arts Centre, Gainsbrough
2020 Enough is Defiantly Enough, Oceans Apart Gallery, Salford and Pineapple Black, Middlesbrough
Asunciones/Himmelfahrten: Positions on women and society from Paraguay and Germany, Cultural Center of the Republic, CCR Cabildo, Asunción of Paraguay Paraguayan-German Cultural Institute / Goethe Zentrum
2019 Party Line, 201 Telephone Box Gallery, Scotland
No Telos!, performance and publication launch events as part of the Convocation within the Research Pavilion at the 58th Venice Biennale.
A Share of a Future, Library and Campus, China University of Mining and Technology, Beijing, China
Enough is Definitely Enough, General Practice, Lincoln
2018 Urban Sounding, Performance event as part of Lincoln Performing Art Centre's POPOUT Festival, Lincoln
Decriminalising Ornament, Ruskin Gallery, Cambridge
2017 Midpointness, Airspace Gallery, Stoke on Trent
2016 De/Structured, Backlit Gallery as part of Kunstpodium T Apprentice/Master international project.
2014-15 Castle Open, Nottingham Castle Museum, Selected by Sean Edwards, Antony Micallef, Kirsty Ogg
2013 The Site is the Question, Airspace Gallery, laboratory exhibition of initial research for the Topographies of the Obsolete, Stoke-on-Trent
Topographies of the Obsolete: Vociferous Void, in the British Ceramics Biennale, Spode factory, Stoke on Trent.
2012 X, Over + Out Gallery, Lincoln
2011 Castle Open, Nottingham Castle Museum, Selected by Sheila MacGregor, Dan Perfect, Lina Peterson
Evolution of Stitch, Wallner Gallery at Lakeside Arts Centre, Nottingham
Opem, Collection and Usher Gallery, Lincoln, Selected by Alan Parker, Deanna Petherbridge, Richard Wilson
2010 Closely Held Secrets, Bonington Gallery, Nottingham
2009 B. Noticed, The Broadcaster, Wellingore & Waddington, Lincolnshire. Group exhibition in collaboration with the Postmethodists.
Make Shift & Bend, Café Gallery, London, England
2008 Drawing Out, Bonington Gallery, Nottingham, England
Parade: Stuff Happens, Angel Row Gallery, Nottingham, England. Selected by Leo Fitzmaurice.
On Time: East Wing Collection 8, Courtauld Institute of Art, London, England
2006 My Solo Show: Xulia Duran-Rodriguez, group exhibition in The Side Room @ Beyond the Valley, London
Art: Visual Artists from the UK, Art Center Gallery at Chung-Ang University, Seoul, Korea
2005 Kaunas Art Biennial: Textile ’05, (Award winner) M. Zilinskas Art Museum Kaunas, Lithuania Juried selection exhibition.
Diverse and Similar: Reflections on sexual otherness, Spanish Cultural Center, Asuncion Paraguay
2004 …dreaming of a white…, Arts & Business, London, England (exhibited and co-curated with Gerard Williams)
2003 CO/OP, Vox Populi Gallery, Philadelphia, Pennsylvania (USA)
2002 Mobiliver/Bookmobile, traveling exhibition throughout the USA and Canada stopping at art galleries, bookshops, Universities and Museums
Random Cross Stitch, Pop-up gallery, 33 Monmouth St, London, England (exhibited and curated)
2001 Works on Paper, Arcadia University Gallery, Glenside, Pennsylvania (USA)
Blunt, Butcher Shop Gallery, Chicago, Illinois (USA)
May Bride, Painted Bride Art Center, Philadelphia, Pennsylvania (USA)
Drive Slowly, Space 1026, Exhibition of artists books, Philadelphia, Pennsylvania (USA)
2000 Fresh Blood, Painted Bride Art Center, Philadelphia, Pennsylvania (USA) Curated by Shelley Spector and Andrew Jeffrey Wright.
Artist Residencies
Running/leading:
2023 Air, Sea, and Soil: Drawing with Place, co-lead with Tracy Mackenna in partnership with The Museum of Loss and Renewal, at Linkshouse as part of Pier
Arts Centre, Orkney, Scotland.
Place, People and Time: Drawing Deeply, co-leading this residency in partnership with The Museum of Loss and Renewal, Collemacchia, Italy.
2022 Place, People and Time: Drawing into Being, co-leading this residency in partnership with The Museum of Loss and Renewal, Collemacchia, Italy.
2021 Bee Eaters: A Virtual Residency: 24-27 August (co-lead with Louisa Chambers)
Swallows: A Virtual Residency: 7-10 April (co-lead with Louisa Chambers)
2020 Swifts: A Virtual Residency: 23-26 Aug (co-lead with Louisa Chambers)
2009-2019 The Summer Lodge, two-week artists residency held in the Fine Art studios at NTU
2017 No Telos, intensive short inter-institutional artistic project focusing on Process of art practice, 11-17 Sept, Venice, Italy. (co-led with Emma Cocker)
Undertaking:
2026 Studio459, 9-14 April, Tomar, Portugal,
Vitrine, 8-14 March, Exeter
2024 Grange Projects, Norfolk, 10-16 June, Great Cressingham, Norfolk
2021 Bummock: Tennyson, 14-17 July, Ringmore Hall, Devon
2019 Hopsitalfield, Interdisciplinary Residency, 4-17 November, Scotland
Bummock: Tennyson, Project Space +, 3-8 January, Lincoln
2018 Returns, Primary Project Space 1, residency with the Returns artist group, 13-18 Sept, Nottingham.
Returns, Airspace Gallery, residency with the Returns artists group, 23-29 July, Stoke on Trent
2016 Dirty Practices, artist residency, Painting Department, 20-13 Sept, Wolverhampton University
Hartlane Gallery with Andrew Bracey and Lucy Renton as part of the Bummock: The Lace Archive, 28-31 July, London
2015-17 The Lace Archive, artist residency as part of the Bummock research project.
2014 Textile Archive, The Collection Museum to undertake a seven-month artist residency within the Museums textile’s archive, Lincoln
Drawology Invited by curator Dr. Deborah Harty to be In Residence and respond to the Drawology exhibition Bonginton Gallery,Nottingham.
2013 Topographies of the Obsolete, residency in the abandoned Spode factory, Stoke on Trent. Lead by KHiB, (Bergen, Norway) and the British Ceramics
Biennale, 9-19 March, 29 July -18 Aug, Stoke on Trent
2012 Resurrecting the Obsolete, located in the abandoned Spode factory, Stoke on Trent. Lead by KHiB (Bergen, Norway) and the British Ceramics Biennale.
9-12 Sept, Stoke on Trent
2005 Braziers International Artist Workshop, Oxfordshire, England (two-week residency)
Fundación Migliorisi, Six-week artist residency focusing on the local tradition of lace making: Nanduti lace. Asuncion, Paraguay
2004 VASL, Six-week textile research residency, researching how Pakistan’s strong design centered textile practice could shift to a more experimental and Fine Art
approach. Indus Valley School of Art and Architecture, Karachi, Pakistan with Gasworks, London.
2000 Fabric Workshop and Museum, a three-month artist apprenticeship, Philadelphia, PA, USA
Publications
2026 Humours, publication from exhibition Four Yet More, By Benjamin Rostance and Dr. Kerry Langsdale
Multimodality and the Arts: Creative and Performative Processes as Intersemiotic Translation, edited by Angela Tiziana Tarantini (Anthology Editor) ,
Irene Fiordilino (Anthology Editor) , Joanna Chojnicka (Anthology Editor), Bloomsbury Academic.
2024 Score: Mechanical Asynchronicity, Beam Editions, with Martin Scheuregger, Daniela Cascella, and Lauren Redhead.
2023 Unrepeating-repeat: reversal, once more, seek-seek afresh, Chapter in Victoria Mitchel and Sarah Horton (eds), Pattern and Chaos: Meaning and
Making, Intellect publishing.
Score: Mechanical Asynchronicity, Beam Editions, with Martin Scheuregger, Daniela Cascella, and Lauren Redhead.
re - turning, published by Topographies of the Obsolete, with Andrew Brown, Joanne Lee, and Christine Stevens, (co-edited with Joanne Lee)
2022 Bummock: Tennyson Research Centre, Flipping the Bummock Press, with Sarah Bennett, Andrew Bracey and texts by Sian Vaughan, Sue Breakell, Jim Cheshire, Jenny Gleadell, Lucy Lumb
2020 Topographies of the Obsolete: Phase Two: Rhizomatic Trajectories, Editor Neil Brownsword
2019 No Telos, a Score/Manual in the form of an artist publication, with the No Telos group.
2018 Bummock: The Lace Archive, Flipping the Bummock Press.
2016 Grafting Propriety: From Stitch to the Drawn Line, (Monograph publication) focused on my drawing research and practice. Black Dog Publications.
2015 Forsaken Decoration. (Book chapter) In: Anne Helen Mydland and Neil Brownsword Topographies of the Obsolete: Site Reflections. Stoke on Trent: Bergen Academy of Art.
2014 Drawology exhibition publication. In Residence response.
On Returning, ed. by Nitkiene, V, Kaunas Textiles Biennale: Unitext. Kaunas: NGO Kaunas Biennial.
Review of Kaunas Textiles Biennale: Unitext. in Craft Research Vol 5.1
2013 Topographies of the Obsolete: Vociferous Void. England: Topographies of the Obsolete Publications. Editors Anne- Helen Mydland and Neil Brownsword
2008 On Time: The East Wig Collection VIII. London: Courtauld Institue of Art.
2007 TEXTILE 07: Unpicked and Dismantled. KAUNAS: Kaunas Artists' Support Fund. Editors Virginija Nitkiene, Ed Carroal, Vita Geluniene.
Parade. Nottingham: Angel Row Gallery. Editor Helen Jones
2006 Art: Visual Artists from the UK. Seoul: Chung-Ang University. Ed. Seonghee Kim.
2005 Kaunas Art Biennial: TEXTILE 05. Kaunas: Arx Baltica. Editors Vita Geluniene And Virginija Nitkiene
Adam and Eve it. London: London Printworks Trust. Essay by Sally O’Reilly
Braziers 2005: International Artists Workshop. Ipswich: Braziers International Artists Workshop. Editor Nicola Grey
2004 VASL: 2003-2004. Karachi: Vasl Artists Collective. Editors Naiza Khan, Saima Zaidi, Usma Ghouri, Auj Khan
2003 Braziers 2003: International Artists Workshop. Ipswich: Braziers International Artists Workshop.
2000 Fresh Blood: New Art Now! Philadelphia: The Painted Bride. Editors Shelly Spector and Andrew Jeffery Wright
Invited talks
2026 Artist Talk for Common Ground, The Hub, Sleaford
Experiential Translation Online Seminar (ETOS), online network event.
2022 Lancaster Arts at Lancaster University, Tuesdays Talks series, online
2019 Wembleton College of Art, Tell-Tale lecture series, London
University of Lincoln, Artists Talk, Lincoln.
2018 Nottingham Contemporary, Lunch time talks/tours of Pia Camil’s exhibition.
2017 Haarlem Artspace, Artists in Conversation: Danica Maier, 30 November 2017.
Nottingham Contemporary, Lunch time talks/tours of Lara Favaretto’s exhibition.
2014 University of Lincoln, Artists talks (hosted at the collection)
2012 Lace:Here:Now conference, Nottingham Trent University, Nottingham
2010 Gallery discussion of the Cert and Uwe Tobias exhibition, Nottingham Contemporary
Key speaker for Beacon Bi-monthlies, Beacon Art Project, The Manor House, Alford
2006 Panel discussion leader for the exhibition Excess, Angel Row Gallery, Nottingham
Invited Artist lecture at Galway-Mayo Institute of Technology (GMIT), Galway, Ireland
Gallery discussion of exhibition Hortus Surface Gallery,Nottingham, England
Gallery discussion of the exhibition 예술 Art Center Gallery CAU Seoul, Korea
2005 Artist talk, Broadway Live as part of the Broadway Live Lecture Series run by Nottingham Trent University, England
Reflections on my residency in Paraguay, Constance Howard Resource and Research Centre, Goldsmiths College, London, England
Artist talk, invited by The Art School of the National University, Asuncion, Paraguay
Artist talk for Postgraduate students at Lincoln University, Lincoln, England
2004 Artist talk by the department of Fiber & Materials Studies, Tyler School of Art, Philadelphia, Pennsylvania, United States
Artist talk, University of Delaware, Newark, USA
Reflections on my residency in Pakistan invited by the Constance Howard Resource and Research Centre, Goldsmiths College, London, England
Artist talk: invited by the British Council, at the Indus Valley School of Art and Architecture, Karachi, Pakistan
Textiles in Art Practice lecture tour, invited by Naiza Khan from Vasl Artists’ Collective: at the Indus Valley School of Art and Architecture, Karachi; National Collage of Art, Lahore; Textile Institute Pakistan, Karachi; Karachi University, Karachi.
2003 Discussion-leading group member: with Jenni Lomax & Gerard Williams, Braziers International Artists Workshop '03, Oxfordshire
Conference & Symposiums
2026 Artist Pedagogy and Artistic Thinking: Perspectives and Practices, University of the Arts Helsinki, Finland. (S)matterings workshop: ‘Studio-ing Beyond the
Studio: Teaching Artistic Thinking for Uncertain Futures’.
Midlands Conference in Critical Thought (MCCT), University of Warwick. Co-convenor/stream leader, (S)matterings: ‘Studio-ing as Critical, Creative and
Interdisciplinary Pedagogy’.
Experiential Translation Online Seminar (ETOS), online network event.
2025 IV International Conference of Art, Research and Education (AIE), TAI School of the Arts, Madrid, Spain. (S)matterings workshop: ‘Studio-ing Matters (v)’.
Have Some Imagination: Towards a Manifesto for Arts Education, Baltic Centre for Contemporary Art, Gateshead, February 2025.
Exploring Academia: From Practice to Publishing, AMPS/Routledge, Prague, June 2025.
2024 Wild Research, at The Revelator, in association with Glasgow School of Art and Uni of Glasgow, 13-14 Sept, Glasgow, Scotland.
National Association of Fine Arts Education (NAFAE) annual conference, University of Canterbury, 4 Sept, Canterbury, England.
Midlands Conference of Critical Thought, co-leading Gentle Gestures STREAM with Alice Bell and Mark Kasumovic, Nottingham Trent University.
2023 Art of Research, Altoo University, Espoo, Finland
Multimodal Translation In The Arts: School of Modern Languages, Cardiff University
On Not Knowing: How Artists Teach (Glasgow School of Art and Units Helsinki's Academy of Fine Art): learning a panel with collaborative group from
University of Lincoln, Newcastle University, Sheffield Hallam University, and Wolverhampton University.
London Conference On Critical Thought (London Met): Radical Repetition stream
2022 Score, at the Performative & Experiential Translation: Meaning-Making through Language, Art and Media, led by The Experiential Translation Network, Kings College and Sommerset House
2020 Listening Again, (Keynote), Music Department Symposium, University of Lincoln
2019 Score: Mechanical Asynchronicity: playing the scores, Music as/and Process, Institute of Contemporary Music Performance in London (with Martin Scheuregger)
Score: Mechanical Asynchronicity, Notation for Improvisers, Institute of Musical Research, Senate House London (with Martin Scheuregger)
2018 Looking Again, Decriminalizing Ornament: The Pleasures of Pattern, 9th International Illustration Research symposium, hosted by Anglia Ruskin University,
Cambridge
Looking Again, Pattern and Chaos, Norwich School of Art, from the research group
Bummock: The Lace Archive, Textile & Place, Manchester School of Art and the Whitworth Art Gallery
Summer lodge and Slow Looking, TILT, Nottingham Trent University
2017 Summer Lodge, Provocative Pedagogies, School of Fine & Performing Arts, University of Lincoln
Rummage to Bypass, The Archive Unbound, Digital Cutltures Network, Cardiff University
2016 Summer Lodge developing a space for process, Dirty Practices Conference, Painting Department, Woverhampton University
Defining Process, Waddington Culture Collective stage one symposium event.
Summer Lodge, NTU Course Leaders Conference, Summer Lodge presentation,
WCC: A group, Start of Something – CVAN annual conference – spokesperson for the WCC. Presentation of Colloquy of Process
2014 Process and Practice, Day of the Young Artist, Museum De Pont, Tilburg, (NL) Run by the Kuntspodium T
Journal Articles
2024 Returns: Back Stitch Methodology as a Reflective Approach to Artistic Research, with A. Brown, L. Lee, & C. Stevens, Research in Arts and Education, 2024 (1), 192–206. https://doi.org/10.54916/rae.142556
2024 Controlled Rummage of Approach’s of Artist Research for Bummock: Tennyson Research Centre, with Sarah Bennet, Andrew Bracey. Journal of Artistic
Research, Ed Michael Schwab, Issue 32, https://www.researchcatalogue.net/view/1576308/2474387
2023 Score: Mechanical Asynchronicity – mimesis and (non-)repetition through notation and performance, ECHO, ‘New Mimesis’, issue 4. guest editor
Jonathan Impett.
2021 Controlled Rummage as Artistic Strategy: Exposing the Bummock of the Lace Archive, co-authored with Andrew Bracey, Textile: Cloth and Culture, Vol 19,
Ed by Dr. Catherine Harper
2019 Looking Again, Journal of Illustration, Vol 6. Number 1. Ed by Sheena Calver and Nanette Hoogslag
2014 On Returning, ed. by Nitkiene, V, Kaunas Textiles Biennale: Unitext. Kaunas: NGO Kaunas Biennial. ISBN: 9786099554808
2014 Kaunas Textiles Biennale: Unitext. (Review) in Craft Research Vol 5.1 ISSN: 2040-4689
2013 Anne Wilson: Wind/Rewind/Weave: A Line of Thread. Craft Research Vol 4.1 ISSN: 2040-4689 pg 113-118 (review of Anne Wilsons 2011
publication)