SHOAL
Catherine Kontz is a London-based composer whose works explore nonlinear form, visual/ spatial elements, and musical theatricality.
Recent premieres include Fruitmarket for BBC Scottish Symphony Orchestra, Die Regenmacher for Ensemble recherche and Il Floridoro for EXAUDI Vocal Ensemble at Rainy Days/Philharmonie Luxembourg, and the opera Neige at Grand Théâtre de Luxembourg, which she both composed and directed.
Supriya Nagarajan, the founding member and CEO of UK arts organisation Manasamitra, is a Bombay-born Indian musician who studied Carnatic vocal music from the age of five.
Supriya's multifaceted work encompasses sonic art, traditional and contemporary Indian art and scientific enquiry. She has worked with a number of artists from other genres creating new musical vocabulary and constantly widening the boundaries through collaboration.
Supriya has composed work for a number of major festivals and productions including the Iceland Symphony Orchestra and the Huddersfield Contemporary Music festival. Her production Lullaby-Sonic Cradle is currently touring internationally.
In acknowledgement of her work as a creative entrepreneur Supriya received a nomination for the 2012 National Microsoft Diversity Awards for her contribution to promoting diversity and access to the arts. Supriya is a Sound and Music New Voices Artist 2018.
Excessive Human Collective is a dance theatre collective formed in Leeds by Eva Leemans, Imogen Reeve and Marie Koehl. Since 2017, Excessive Human Collective have been creating, performing and hosting unique but accessible art and events that comment on social norms and the human condition. Their aim is to shift audiences' perspectives of the everyday and make them question conventional behaviours.
Previous works have included collaborations with many artists including DJs, photographers, painters, musicians and filmmakers.
Georgie Brinkman is an interdisciplinary artist and one half of the art collective ZOOX. ZOOX specialise in collaborative projects, particularly those examining how human intervention in, and perception of, organic environments has been reframed by mediated, technological experiences.