Bartolacci’s artwork draws from personal experiences of queer nightlife in New York City. Common themes in his practise include desire, longing, and self-styling. Highly saturated colors combined with an emphasis on lighting conditions create charged atmospheres that evoke the revelry and escapism of a night out. More than just places for dancing and pleasure, the bars and clubs in his work become anchors for connection and personal expression.

James Bartolacci (b. 1988, Easton, PA) currently lives and works in Queens, New York City, USA.  He received his MFA in Painting and Printmaking from the Yale School of Art in 2020. He has exhibited in group and solo exhibitions at Galerie Perrotin and Taymour Grahne Projects.

Rhys Coren works with animation, painted marquetry, writing, light, terrazzo, silk screen, carpet, sound and performance. Each media displays an obvious pleasure in rhythm, form, colour, texture, space and negative space. The wall works contain cartoon-like clouds broken by grids of colour and texture, raking perspectives, occasional body parts, drop shadows, dance floors and the interplay of frenetic lines. Coren describes the direct link between his experience of music and the visual language of his practice, crediting the structure and strategies found in electronic dance music, jazz and disco as the genesis of the works.

Rhys Coren (b. 1983, Plymouth, UK) completed a Postgraduate Diploma at the Royal Academy of Art in 2016 and lives and works in London. Solo exhibitions include Shape of Story, Seventeen, London (2019); Main Street Video, Aldrich Museum of Contemporary Art, Ridgefield (2019);Rock-hard aura and the Lost Explorer, Grimm Gallery, NY (2018); click, click, click-clap-click, galeriepcp, Paris (2016); and Whistle Bump Super Strut, Seventeen, London (2017). He also recently curated the group exhibition Cuts, Shapes, Breaks and Scrapes at Seventeen, London alongside Gabriel Hartley and he has co-founded curatorial projects including Opening Times and bubblebyte.org.

Susie Green (b.1979) works across painting, performance and sculpture, focussing on empowerment through dress, otherness & disguise. At the heart of her work is an exploration into the personal and political powers of intimacy, vulnerability and transgression. She received a BA in Fine Art from Newcastle University (2002) and an MA in Fine Art, Chelsea College of Art UAL (2009). In 2020 she was selected for BALTIC STATES – a 3 month residency at Nida Art Colony, Lithuania, in association with BALTIC, Gateshead, UK.

Susie Green is currently part of a two person exhibition with Cathy Josefowitz, Empty Rooms Full of Love (2021,) at FRAC Champagne Ardenne, Reims, FR. Recent exhibitions and projects include: Double Trouble (2020) online solo exhibition for New Viewings curated by Andrew Renton, Galerie Barbara Thumm, Berlin DE; Club Goddess (2020), live stream commissioned by Kunstraum, London, UK. Jerwood Solo Presentations (2018), Jerwood Arts, London; Interior Report (2018), Workplace, Gateshead; If They be Two (with Kim Coleman), Five Years, London; Pleasure is a Weapon (2017), Grand Union, Birmingham, UK. Group exhibitions include: Something Soft (2019) Kunstraum, London; Idea Home (2017), MIMA, Middlesbrough; Exhibition of a Dream, Gulbenkian, Paris (2017). Recent performances: The Hold (2019) (in association with Huguette Caland exhibition), Tate St Ives, Cornwall; ROMANTI-CRASH (2018), Jupiter Artland, Edinburgh; Dwarling, My Darling (2017) (performance with Rory Pilgrim as The Brilliant State), Oude Kerk, Amsterdam, NL.

Joel Kyack brings together a combination of unlikely components purchased from hardware stores, health care industries and Hollywood prop-houses to create surreal, darkly humorous objects and paintings that evince a dysfunctional and chaotic social context as their origin. Kyack maintains a Dadaist anti-bourgeois position rejecting ‘taste’ and traditional aesthetic sensibilities. He instead finds pragmatic yet subversive relationships between functional objects to achieve an outcome that relates back to the body and to the abject absurdity of the individual in relation to a disturbing and complex social world, always with the potential for violence and the grotesque.

Joel Kyack was born in Born in 1972 in Pennsylvania, USA and currently lives in California, USA. He received his BFA from the Rhode Island School of Design in 1995, studied at Skowhegan School of Painting and Sculpture in Maine in 2004, and received his MFA from the University of Southern California in 2008. Recent solo projects include The Very First Day at Workplace Gateshead, Old Sailors Never Die and Escape to Shit Mountain at Francois Ghebaly, Los Angeles; Point at the Thing That’s Furthest Away at Praz-Delavallade, Paris; Superclogger, a public project produced in collaboration with LAxART and The Hammer Museum in Los Angeles, and The Knife Shop at Kunsthalle - LA in Los Angeles. He is represented by Workplace Gallery in the UK, François Ghebaly in Los Angeles and Praz-Delavallade in Paris.

Matt Stokes's practice stems from a long-term inquiry into subcultures, particularly musical ones. He is interested in the way music provides a sense of collectivity, acting as a catalyst for particular groups to form, shaping and influencing people's lives and identities. Stokes produces artworks that depart from a context-specific research and take on a conceptual and aesthetic life of their own through films, installations and events.

Matt Stokes was born in Penzance, Cornwall and has lived, studied and worked in the Northeast of England since 1993. In 2018 he was the recipient of Paul Hamyln Foundation Award for Visual Artists and in 2006, was the winner of the Beck's Futures Prize. Recent solo shows include a commissioned film installation as part of We The People Are The Work, Plymouth, 2017; Matt’s Gallery, London, 2015; Site Gallery, Sheffield, 2014; Grundy Art Gallery, Blackpool, 2014; Whitechapel Gallery, London, 2012; De Hallen, Haarlem, 2011; Kunsthalle Fridericianum, Kassel, 2010. Stokes’s work has been exhibited in group shows at important institutions and biennials including: M_HKA, Museum of Contemporary Art Antwerp; Lentos Kunstmuseum, Linz; National Galleries of Scotland; Stedelijk Museum, Amsterdam; Witte de With, Rotterdam, Netherlands; Dundee Contemporary Arts; ICA, London.

Sue Tompkins (b. 1971, Leighton Buzzard) lives and works in Glasgow. Working with fragments of language gathered from everyday encounters and experiences, Tompkins’ practice incorporates text, sound, installation, painting and performance.

Tompkins graduated from the Glasgow School of Art in 1994, and has been involved in exhibitions and performances worldwide, including solo exhibitions at The Gallery of Modern Art, Glasgow at Glasgow International; The Modern Institute, Glasgow; Inverleith House, Edinburgh; Spike Island, Bristol; and Contemporary Art Museum, St. Louis. She has presented performances and been included in numerous group exhibitions including those at: BBC Scotland, Glasgow; White Columns, New York; Midway Contemporary Art, Minneapolis; Wysing Arts Centre, Cambridge; the 29th São Paolo Biennale, São Paolo; the British Art Show 7 at the Hayward Gallery, London and touring; MACBA, Barcelona; ICA and the Tate Modern, London; and Artists Space, New York. Tompkins was shortlisted for the Beck’s Futures Prize in 2006, and received the Paul Hamlyn Award in 2011.