REVEAL – Showcase Artists 2024-5 Exhibition

Anna Braithwaite is an innovative and flexible artist working in music theatre and sound art with a strong focus on improvisation and socially engaged work. Her music has been performed at the Royal Opera House, National Theatre, Electric Medway Festival, on BBC Radio 3, Resonance FM and Radiophrenia. She has worked for The Marlowe Theatre and RSC as a community artist. Anna is currently researching the use of ambisonic audio in sound walks with the assistance of Screen South and with funding from Arts Council England’s ‘Developing Your Creative Practice’ scheme.

Anna’s piece, Pilgrimage, is an immersive audio artwork which captures the experience of walking from Deal to Dover along the shoreline. It blends field recordings with improvised vocal and church organ music which were also recorded en route, in St Margaret of Antioch church. This work highlights the loss of peace and nature from our lives.

Pilgrimage will be shown during the second fortnight of the exhibition, from 11 – 22 September, Weds-Sun

• Visitors will be escorted to the piece hourly from the exhibition reception desk. Those wishing to guarantee a particular visiting time can book a place here.

Pilgrimage was developed for and exhibited at Deal Festival of Music and Arts 2025.

annabraithwaite.co.uk

Nichola Bruce + Rebecca E Marshall are moving image artists, whose film-poems reveal their deep interest in our ways of seeing, our ever-present uncertainties and contradictions, and the fallibilities that bind us and make us human.

Nichola and Rebecca will be exhibiting works from their series, Strangeness of Seeing. This originated as a four-year NESTA Fellowship awarded to Nichola Bruce in 2003, dedicated to the exploration of perception under the mentorship of renowned neuroscientist R.L. Gregory. This fellowship marked the beginning of a creative partnership between Bruce + Marshall, resulting in a significant body of moving image work. At the heart of this collaboration is a series of 26 film-poems. Each piece illuminates intimate elements of perception. They reveal strange, fleeting experiences—moments where the personal transforms into the universal.

Their films have been presented as both installations and cinematic screenings at festivals and venues including the Locarno Film Festival, Optronica Festival (BFI), The Foundry (London), Hastings Castle, and the Herstmonceux Science Centre (Sussex).

As recent Screen South Showcase Artists, Bruce + Marshall have expanded Strangeness of Seeing into a new phase—one that continues to draw from their shared inner and outer experiences of the world and each other, with the aim of creating an immersive landscape of the mind.

Michelle is a Folkestone-born artist and designer. She loves using design elements from the past to create engaging, surprising and exciting designs. Michelle creates AR that blurs the lines between reality and dreams. Her artwork is fun, engaging and imaginative. Her recent art commissions include ‘Folkestone Dreams’ AR Installations exhibited in Folkestone Brewery Tap in December 2024, and more recently ‘Folkestone Psychedelic Dreams’ AR installation as part of the Noel Redding Exhibition displayed at Folkestone Museum. With her passion for past art and design with a contemporary twist, Michelle plans to launch her own design business ‘All the Decades’ in 2025.

Michelle is exhibiting Folkestone Psychedelic Dreams, a hyper-colourful digital art piece inspired by the passion and energy of Noel Redding’s amazing 1960s experiences and his life in Folkestone. Noel Redding is a local music legend and was an original member of the famous Jimi Hendrix Experience, one of the leading rock bands of the late 1960s. Michelle’s digital art piece has 2D photo and 3D elements, creating a series of interactive animated postcards, each a snapshot of Noel Redding’s life in Folkestone, from his birth at The Royal Victoria Hospital to the present-day community space Noel’s Yard. This artwork celebrates the local musical legend Noel Redding and raises awareness of Folkestone’s musical heritage and the need for a statue of Noel Redding in Folkestone.

Adam Chodzko is a visual artist based in Whitstable, Kent. His multi-media works explore the emergent possibilities, desires, ambiguities and contradictions that shape how we connect with each other and the world around us. Adam’s art takes the form of searches; trying to see, with others. But also trying to glimpse with others what we like to look away from. Investigating the spectrum between what we think we are, and what we could become, his heterogeneous body of work ranges from video, performance, drawing and sculpture to socially-engaged processes, often questioning what art might be.

Adam has exhibited extensively in international solo and group exhibitions since 1991, including: Tate Britain, Tate St. Ives; Raven Row, MAMBo; Benaki Museum, Athens; Istanbul and Venice Biennales, etc. Commissions include Creative Time, (NY); Frieze, and the Wellcome Trust. Awards include: Paul Hamlyn Foundation, Foundation for Contemporary Art – NY, AHRC Research Fellowship, DACS Art360.
He’s lectured/tutored at many of the UK’s art schools including Central Saint Martins, Chelsea, Slade, Goldsmiths, RCA, Sheffield Hallam etc

Adam is currently developing his practice-led PhD at Leeds Beckett University, creating a tool to translate a community’s nocturnal dreams into visual animations for them; The Dreamshare Seer.

Through Screen South Adam made two short videos, in the form of dreams. They both emerge from The Dreamshare Seer, an evolving, free, participatory, creative AI artwork which turns descriptions of a community’s nocturnal dreams into visual animations, and maps the approximate location of where the dream was dreamt. The tool also shows the commonalities between shared dreams.

Initially co-created with, and focused on, the inhabitants of the Isle of Sheppey, Kent, its dream visualiser can also be explored by anyone! The Dreamshare Seer is trying to explore, work with and cultivate an ecology of dreaming between a site and its community. The tool reveals the innate extraordinary imaginations of a community, as manifested through their nocturnal dreams and then described by them through simple storytelling processes. The project is partly a critique of AI, revealing our human collective intelligence, whilst harnessing AI’s aberrations to shape the form of dreams.

A Guide For ‘The Dreamshare Seer’ (Act I) (2025), is a surreal dream-like ‘tutorial’ video. It shows a guide demonstrating why, and how, to use The Dreamshare Seer.

The guide, played by Kent-based musician Angusraze, explores the tool in the style of a YouTube instructional video – a ‘walkthrough’ – sharing a practical step-by-step process of how to do something. These videos are usually clear, concise and pragmatic, therefore often also dull and cheesy, despite their potential usefulness. A Guide for ‘The Dreamshare Seer’ adopts many of the mannerisms of the sensible ordinariness of this form, but here entangling them within the strange, slippery structure of dreams. The guide who talks us through the tool’s use is dreaming this process, and, we are told, is themselves being dreamt, by the island.

Credits:
The Guide: Angusraze with Finley Guy as Soozie.
Chorus: Gretchen Egolf, with David Cook, Dave Franklyn, Oliver Edwards and Charlotte Cook.
Music by Angusraze and Shamica Ruddock.

The Island’s Collective Dream (2025), (Act II) shows a single dream sequence, dreamt communally by a group of people who live in the same place. It combines, mixes and condenses the 160 nocturnal dreams from the community who live on the Isle of Sheppey, who used Chodzko’s Dreamshare Seer tool to share and visualise descriptions of their dreams between 24 April 2024 and 1 Jan 2025. All these dreams are currently floating in the tool’s Dream Cloud, clustering in positions there according to themes they share in common.
Imagine each person’s individual dream as a jigsaw piece, a fragment, which just needs its awkward edges slotting together in the right way, in relation to other pieces of this jigsaw, in order to create a whole picture. The video focuses on the dreams’ most frequently occurring events, actions, objects, animals, people, places etc. There’s lots of steam, mazes, dogs, climbing and carnivals. It’s been created a bit like the process of cooking where you reduce a lot of combined ingredients to create their essence.

Credits:
Chorus: Gretchen Egolf, with David Cook, Dave Franklyn, Oliver Edwards and Charlotte Cook.
Additional music by Angusraze.

adamchodzko.com

Claudius Fanusie is a transdisciplinary creative practitioner working at the intersection of architecture, art, and music, fusing traditional and digital methods to explore identity, history, and social context. Rooted in his formative experiences in Freetown and shaped by my perspective as a Black British person, my practice is informed by a commitment to social and political engagement.

Now based in both Canterbury and Folkestone, he creates work integrating research into technology, archival material, and immersive media, including 3D, AR, and VR. His creative output spans drawing, sculpture, and audio, often addressing themes of contested histories, diaspora, and community. As an active participant in exhibitions and public programs, he also designs workshops and lectures that emphasise art as a catalyst for dialogue and community cohesion.

His ongoing research investigates how emergent technologies and creative coding can expand the possibilities of contemporary artistic practice, while his approach continues to be shaped by critical theory, interdisciplinary collaboration, and a deep respect for tradition.

Claudius is exhibiting Conjuring Counter-Memories, an interactive mixed-reality experience that puts a drawing of Folkestone Harbor on trial for temporal vandalism, documentary fraud, and inciting ontological disorder. Players serve as border officers turned witnesses turned judges, navigating between two interpretive systems embodied by a Colonial Anthropologist (prosecutor) and an Afrofuturist Magician (defender).

The work uses a legal trial as metaphor for how colonial knowledge systems judge and exclude certain forms of truth. As players investigate the drawing’s “crimes,” they discover they’re actually on trial for their own ways of seeing.

Claudius Fanusie was a recipient of UK Arts Council DYCP Grant April 2024. This work began during the grant period and forms part of the development supported by the award.

Craig Gell and Astrid Goldsmith are multi-disciplinary artists who frequently collaborate.

Craig Gell is a sound artist and composer. His work explores our connection to the natural environment, using field recordings, geoscience data and creative coding to produce interactive sound maps, installations and electroacoustic compositions. His work has exhibited at Folkestone Triennial, Ramsgate Festival of Sound, SALT Festival of the Sea and the Environment, and has been broadcast on Radiophrenia (Scotland), Resonance Extra and The Lake (DK).

Astrid Goldsmith is an award-winning writer and animation director. Specialising in puppet stop-motion, Astrid’s films examine the impact of man on nature through the lens of animal allegory. Her films have been commissioned by the BBC and BFI, her latest film won Best Animated Film at Sitges, and was Oscar long-listed. In 2022, she won the Observer/Jonathan Cape Award, her subsequent debut graphic novel is due to be published by Jonathan Cape in January 2026.

Craig and Astrid will be sharing excerpts of the their site specific Folkestone Triennial commission Have You Seen the Folkestone Elephant? – an interactive mobile survey that guides you on a walk to local landmark Summerhouse Hill, to discover its mysterious elephant-shaped chalk hill figure.

The incredible myth of the Folkestone Elephant is explored throughout this immersive countryside walk in mobile Augmented Reality. The walk features geo-located video content, and invites users to consider the importance of the landmark through a series of survey questions. The project also includes an interactive exhibition at Folkestone Museum, displaying archive video, folk costumes and rare artefacts from the collection of the Folkestone Landmarks and Monuments Society.

Credits:

Carole Hayman is a writer, producer & presenter. She was born in Kent, which featured in her novels, Missing and Greed, Crime, Sudden Death. Her early work was with The Bristol Old Vic, The Royal Court and Traverse Theatres, from which she went on to become co-founder and first woman director of the Joint Stock Theatre Company. Later she was an Associate Director of The Royal Court Theatre.

Carole is well known as writer of the Radio 4 hit series “Ladies of Letters” with Prunella Scales and Patricia Routledge.

Carole’s study on women & serial killers, No One Escapes, became a highly acclaimed four screen video installation, shown all over the UK in high, medium and low secure units, Universities, NHS facilities, festivals, forensic and arts conferences and prisons.

Carole’s opera The Hive is loosely based on the material. It will be staged with the Royal Liverpool Philharmonic Orchestra in November 2025. Carole’s second opera – The Rotters Opera – is a contemporary take based on scurrilous goings on in her home town of Deal during the late 19th century.

Carole is exhibiting Lossenham: Sounds of a Landscape. 

The deep and peaceful quiet of Lossenham is instantly apparent as you walk the fields – the wide, green vistas bordered by tranquil waterways, offering their own calm comfort with swans serenely gliding by. The history of spiritual devotion, the ancientness of the trees and castle tolls, the cyclical rhythm of farming, the regenerated reed beds, copses, meadows and waterways, make this landscape feel unique; it’s special and very appealing – rich as it is in buried stories.
The Soundscape is an impressionistic patchwork made up of the sounds of the archaeological dig of a 13th Century Carmelite Priory, the fields, the animals and birds, the busy villages, the farm machinery, the church, the hooting single track steam train, the pub’s gossip, the nearby market, the imagined chatter of the past, the ghostly voices of the Carmelites, their echoing plainsong, their liturgical chants – and the people, past and present, involved in creating it all…

With a team of experienced interviewers, Carole Hayman talked to and recorded the stories and views of upwards of 30 people, all living on and working the land and surrounding villages. The result is a richly immersive narrative of countryside views, politics, attitudes and histories.

The spoken words are interspersed with the sounds of nature and of the wildlife supported by the fields, meadows, pastures, ponds, reeds, copses, waterways and misty banks of Lossenham. The magic of the ancient weald, almost unchanged since the Vikings came upstream, is always present.

Participants can stand in the centre of AMBIANCE and while experiencing the sounds, can watch screens showing a slow photographic revolve of the land, the people and the creatures, wild and tame, within it. The whole experience is accompanied by musical extracts chosen to add to the serene, meditative, atmosphere.

There are also four separate speakers with earphones, which play the following Lossenham sounds:

Community
The dig
History
Regeneration

• Visitors will be escorted to the piece hourly from the exhibition reception desk. Those wishing to guarantee a particular visiting time can book a place here.

The Lossenham Project, supported by the Janus Foundation and Screen South, is her first development into an immersive sound experience.

Livi Wilmore is an artist and XR developer from North Wales. Her practice uses installation, mixed reality, immersive technology and playful art direction to challenge perspectives using satirised characters and mirror realities as cultural parody and critique.

Livi’s latest pivot sees her explore blurring the lines between contemporary art and participatory immersive installation, using our relationship with nostalgia and escapism (especially online) during the information age and understanding human responses to societal unrest as central themes.

Livi will be exhibiting mixed reality sculpture, Uncanny Valley. There are now over a billion websites hosted online, with 175 websites created every minute. In just 34 years (the first ever webpage was launched in 1990), 5.18 billion of us have gained access to this literal endless wealth of content (it’s estimated it would take someone 23 million years to read everything ever published online). These statistics may not be general knowledge, but the effects of this are felt worldwide- A phenomena known as Information Overload – and is thought by some to be causing a worldwide increase in anxiety.

To avoid the anxiety of constant information influx, people who feel left behind trying to stay up to date with technology (and its associated tropes, slang, and dangers that are supposed to be common knowledge) are left with one choice – dissociate and view the fast paced world as something to be marvelled at like sci-fi rather than keep up with.

This has created a society wide feeling of parody- just off from how we think life should be (resulting in widely circulated jokes such as ‘living in a Black Mirror episode’ and the writers of South Park taking a hiatus claiming “we’re already living in a parody”). We are now living in Uncanny Valley – defined as the visceral feeling we experience when something is close to looking human (in this case human experience), but misses the mark.

In this alt-reality dystopian corner shop, users get to experience a world that’s unsettling in both its familiarity and its take on the unknown. Participants are encouraged to learn and reflect by interacting with the gamified infographic and AR mirror.

Uncanny Valley was developed for Electric Medway and its physical construction was assisted by Men in Sheds.

livicg.co.uk