Amy-Clare McCarthy (she/her) is a curator based in Meanjin (Brisbane). She is currently Gallery Manager at Milani Gallery and curator of Carpark Gallery. She was the inaugural Chair of the Board of Outer Space from 2017-19. From 2013-17 she was the Exhibition Program Curator at Metro Arts. She is the proud host and creator of FEMIOKE – a feminist karaoke event first imagined by LEVEL ARI and Amy-Clare, made possible thanks to the support of Metro Arts.

Kieran Swann is a curator and producer. He is dedicated to art that creates spaces for relief and resilience; provokes change and exchange; and demonstrates care, generosity, and beauty.Kieran has spent nearly twenty years working across and between artforms; gallery-based exhibitions, public art, performance, social practice, co-creation. He is currently Senior Curator for Create London; a charity that commissions bold, radical, and socially-engaged art and architecture that is woven into the fabric of everyday life, across East London. Recent projects include Turner Prize-nominated artist Catherine Yass’ Flood Barrier, and the public programme Breaking Waves, both responding to the impact of climate-crisis related flooding; and A House For Artists, a RIBA-award winning ambitious new project providing long-term affordable housing for artists, and a programme of contemporary art and engagement in Barking.Kieran is also one half of McCarthy-Swann Projects, a curatorial collaboration that supports contemporary artists to create moments of connection, between artists, audiences, communities and individuals. McCarthy-Swann Projects platforms feminist, queer, and culturally diverse perspectives, to expand understandings of what is possible through a generous sharing of experiences.Kieran has worked in a range of senior leadership roles across the arts sector; as Head of Live Programme for Wellcome Collection, a London museum focused on the intersection of art and health; Head of Programme for Arnolfini, Bristol’s international centre for contemporary arts; Program Producer for Theatre Network Australia, the nation’s leading advocacy organisation for the performing arts; and Program Manager for Metro Arts, Brisbane’s home for experimental and contemporary art and performance. He has also worked on festivals and projects with Portland Institute of Contemporary Art, Performance Space 122 (now Performance Space New York), Danspace Project, and Venice International Performance Art Week..Kieran has studied at Wesleyan University’s Institute for Curatorial Practice in Performance, in Connecticut USA; Victorian College of the Arts; and Queensland University of Technology.

​Naomi Blacklock is an artist based in Meanjin (Brisbane), Australia whose practice maps the nexus of embodied performance, cultural heritage and gender identity. Working across a range of media, from experimental sound and video installation to performance and sculpture, her work creatively examines the mythologies, archetypes and harmful histories of gender and cultural identity through an intersectional feminist lens. Her ritualised sound objects and performances are intended to amplify the body and the voice through performative bodily precision and aural screaming. In 2019 Naomi was awarded her Doctorate of Philosophy from Queensland University of Technology for her thesis Conjuring Alterity: Refiguring the Witch and The Female Scream in Contemporary Art. Her work has been presented at Hobart’s Art Festival, Dark Mofo and in numerous Galleries and Artist-Run Initiatives both locally and nationally. She is a Co-Director of Brisbane’s ARI Boxcopy, where she developed and delivers the experimental music program Sound Offering and is a founding member of Brisbane’s CLUTCH Collective, a Brisbane-based ARI that delivered exhibitions from the back of a 3-tonne truck.

​Anastasia Booth crafts objects as apparatus or flawed erotic subject.  By interleaving the languages of Freudian fetishism, kink, dark fantasy and personal anecdote, she ponders, can the artist as an agentive figure fight off gendered limitations and her own sexual failures. The dialogues she dabbles in can be problematic and contradictory, where no real answer is forthcoming. Sometimes, fetish strategies of partialism, mimicry and projection are used with subversive intent - acting as agentive inscription to pry apart historic formulas - but more often than not, the artworks emerge from poetic mishap. Leather, glass, lustrous metals, ready-made sex toys, kink environments, timber, hair and lube inspire dysfunctional apparatuses that build perplexing relationships. Situated in a liminal zone these works engage with the imitative fragment and confuse it with the veritable subject. A trace of material recalls the erotic body despite any prior purpose, the benign and seemingly innocent surface enacting pleasure and moral consequence. As props for an illusory narrative, they become the site of psychological projection, our interaction inherently phantasmic. Interestingly, the simulation can fail when the objects are unable to sustain the desires being forcibly grafted onto them. There is great potential in this, the slippage of the personal ideal as arousal becomes absurd and impotent. These forms sit in counterpoint to Anastasia's refined, decoratively sumptuous sculptural and performed embodiments. Anastasia enamoured with ancient and historic figures - for their ribald, queer or monstrous qualities - situates herself in their place recreating their forms and acts artistically as a process of dialogue and liberation. ​​Anastasia lives and works in Brisbane, Australia. She refined her craft at the Queensland University of Technology, completing her Practice-led Honours and Doctoral study. Her work has been exhibited nationally, including projects at The Perth Institute of Contemporary Arts, Institute of Modern Art, Museum of Contemporary Art, University of Queensland Museum, Griffith University Art Museum, Milani Gallery CARPARK, Screen Space, The Australian Experimental Art Foundation and was artist in residence at Metro Arts and Outer Space. She also designs and delivers workshops, as well as public programs in museums and galleries.

Caitlin Franzmann explores contemporary art’s potential to instigate change by way of critical listening, dialogue and self-empowerment. In reaction to the fast pace and sensory overstimulation of contemporary urban life, she creates situations to encourage slowness, mindful contemplation, and social interaction in both galleries and public spaces. These situations include conversation-based works and immersive sonic spaces such as wearable listening sculptures, architectural interventions and audiowalks.She originally trained as an urban planner before completing a Bachelor of Fine Art at Queensland College of Art in 2012. She has exhibited nationally and internationally, including at National Gallery of Victoria, Institute of Modern Art and Kyoto Art Centre. Caitlin has participated in residencies in Indonesia, Turkey, Japan, Chile and, locally, with Brisbane City Council’s Karawatha Forest Discovery Centre. She was recipient of the 2014 Churchie National Emerging Art Prize and was selected to exhibit in Primavera 2014: Young Australian Artists at the Museum of Contemporary Art.As a member of the feminist art collective LEVEL from 2013-2017, Caitlin has collaboratively presented participatory works at Gallery of Modern Art, Museum of Contemporary Art and Australian Centre for Contemporary Art. With LEVEL, she has also co-curated exhibitions and forums with a focus on generating dialogue around gender, feminism and contemporary art. She was most recently on the management committee of Outer Space ARI 2018-2019, and is currently a core member of Ensayos, a collective research practice centered on extinction, human geography and coastal health.

Born in Aotearoa/New Zealand, Chantal Fraser is a Meanjin-based Sāmoan artist working across photography, performance, and sculpture. Informed by her lived experience, Fraser’s practice examines and subverts the structures of capitalism and state authorities, often by using ornamentation and personal adornment. Fraser’s work has been included in numerous exhibitions nationally and internationally, including at the Queensland Art Gallery | Gallery of Modern Art, Brisbane; the Institute of Modern Art, Brisbane; the Vancouver Art Gallery, Canada; and La Cité internationale des Arts, France.

Blake Lawrence is an interdisciplinary artist working across photography, drag, video, performance and ceremony. Drawing on the performative potential of materials, Lawrence works in entanglement with crude and camera-less photographic processes. They are devoted to relationship and responsibility beyond genealogy, absence and residue, drag, care, love, sex and pleasure in a practice-based research. Borne from Yaegl land and waters in Northern NSW, Lawrence lives and works on Gadigal land. They completed a Bachelor of Visual Arts at the Sydney College of The Arts, and subsequently Honours In Design (Photography) at the University of Technology, Sydney. They have exhibited locally and interstate, at Firstdraft, Seventh Gallery, C3 Contemporary, The Walls and Verge. They have presented live work in Brisbane’s Spring Hill Reservoirs, the Art Gallery of NSW and Newcastle’s This Is Not Art and have performed drag at Club Kooky, The Bearded Tit, Bad Dog, Tropical Fruits, Falls Festival and more.