Shape of Heat

Louise Bouvet-Zieleskiewicz is a doctoral student in philosophy of art and aesthetics, associated with the LESA laboratory (Laboratoire d’Études et Sciences des Arts) at Aix-Marseille University and Sorbonne University, Paris. Her doctoral research focuses on a historical and theoretical cartography of the notion of phenomenological event, as expressed and singularised in the experience of cinema.

She has published numerous articles on the mutations of the moving image, on contemporary experimental cinema and the phenomenology of cinematic experience. 

As an exhibition curator, she works regularly between Paris and Venice.

Óscar Perdomo Ceballos is a poet, writer, and historian who earned his doctoral degree in Medieval History from Freie Universität Berlin in 2024. His debut novel, The God of the Heretics, was published in 2015. In 2016, he released the non-fiction book Las Señoras de los Indios. His novel The Wild Vanity was a finalist in the Clarín literary contest in Buenos Aires. His research focuses on intercultural connections across continents and historical periods.

In her anti-disciplinary practice, Monika Gabriela Dorniak traverses the fluid boundaries between bodies, objects, and environments, seamlessly weaving together performance, (textile) sculpture, and multimedia interventions. With a background spanning fine art, choreography, psychology, and design, Dorniak’s work often unfolds within collaborative frameworks as a living map—charting the shifting terrains of the self amidst the entanglements of inherited and embodied memories, as well as belonging. Her works have been exhibited internationally, including the National Gallery Vilnius, Tate Exchange at Tate Modern London, Drugo Mare Rijeka, Galeria Promocyjna in Warsaw and KINDL Berlin. In 2024, Dorniak embarked on a practice-based PhD at HfK Bremen and HDK Valand in Gothenburg, where she continues to explore the ongoing impact of the Second World War through auto-ethnographical, agricultural and interspecies positions.
https://monikadorniak.com/

fields harrington (b. 1986) is a Brooklyn-based artist whose practice spans sculpture, performance, video, photography, drawing, and writing. harrington investigates the political, social, historical, and economic forces shaping the production of empirical knowledge, with a particular focus on science. His work critiques how ideologies—such as racism and the enduring financial logic of slavery—have shaped scientific practices that uphold systems of oppression. By revealing the intersections between knowledge production and the abstraction of power, harrington challenges the construction, transmission, and weaponization of knowledge.

harrington has a BFA from the University of North Texas, an MFA from the University of Pennsylvania, and studied at San Antonio Community College. He was a participant in the Whitney Independent Study Program. He has presented solo exhibitions at the David Salkin Gallery, KAJE, Petrine, and Y2K Group. He has exhibited in group shows at MIT List Visual Arts Center, Galerie Thomas Schulte, Parsons School of Design, 52-07 Flushing Avenue, and Automat Gallery. fields harrington was an L.A.B. researcher in residence at The Kitchen in collaboration with The School for Poetic Computation and participated in the research residency Site to be Seen at RAIR.

Jessica studied Textile Design at the Rhode Island School of Design and Comparative Literature (Africa/Asia) at the University of London’s School of Oriental and African Studies. Her PhD, awarded by the University of Edinburgh is published under the title Yvonne Vera: The Voice of Cloth (kalliope paperbacks: 2008). She is editor of In the Loop: Knitting Now (Black Dog: 2010), The Textile Reader (Berg: 2012 / second edition Bloomsbury: 2023) and author of Warp & Weft (Bloomsbury: 2012). Her editorial and curatorial project Cultural Threads (Bloomsbury: 2015) was accompanied by a travelling exhibition Migrations (2015–17).

Jessica edited PARSE Journal issue 18 Thinking in Motion and co-edited issue 19 Powers of Love with Jyoti Mistry, issue 15 Violence: materiality with Ole Lützow-Holm and issue 11 Intersections with Kristina Hagström-Ståhl and Jyoti Mistry. Recent writing includes the Afterword to Humanitarian Handicrafts: History, Materiality, Trade (Manchester University Press: 2024), “Toward a Minor Textile Architecture” in Entangled Histories of Art and Migration (Intellect: 2024) and “Crafting Extremes in Andreas Eschbach’s The Hair-Carpet Weavers” in Text/Techne (Bloomsbury: forthcoming). From 2020-2023 she was the Rita Bolland Fellow at the Research Centre for Material Culture, the Netherlands and is currently Professor of Craft at HDK-Valand, University of Gothenburg and Professor II at the Oslo School of Architecture and Design.

She was PARSE Editor-in-Chief during 2024 and 2025.

Hsuan Hsu received his PhD in English from UC Berkeley. He is a Professor of English at the University of California, Davis, where he works in the fields of American literature and culture, environmental humanities, critical ethnic studies, sensory studies, and cultural geography. His publications include Geography and the Production of Space in Nineteenth-Century American Literature (Cambridge, 2010), The Smell of Risk (NYU, 2020), Air Conditioning (Bloomsbury, 2024), and articles in journals such as American Literary History, ISLE, Panorama, Camera Obscura, and Jump Cut. He has on the editorial or advisory boards of several journals, including Literary Geographies, American Literature, Genre, Multimodality and Society, and Venti: Air, Experience, Aesthetics. He has received fellowships from the American Academy of Arts and Sciences, the National Endowment for the Humanities, the American Council for Learned Societies, and the Andy Warhol Foundation for the Visual Arts. He is currently completing a short book on Olfactory Worldmaking and co-editing (with Ruben Zecena) a special issue of Senses and Society on the topic of Migrant Sensoria.

Cathryn is Editor-in-Chief of PARSE, and currently a senior lecturer in Fine Art at HDK-Valand, University of Gothenburg, teaching and supervising at masters and doctoral level. Cathryn is a spatial theorist with a particular focus on interiors and processes of interiority across micro and macro scales. They are currently writing a book which considers how interstellar spatial phenomena can help to spatialise the ethics of artistic research. 

Cathryn has co-edited issue 17 of PARSE on Citations. 

Onkar Kular is Professor of Design at HDK Valand, Academy of Art & Design, University of Gothenburg. His practice has been disseminated internationally through commissions, exhibitions, education and publications. He has guest-curated exhibitions for The Citizens Archive of Pakistan, Karachi, and the Crafts Council, UK. He was Stanley Picker Fellow in 2016, Artistic Director of Gothenburg Design Festival in 2017, Co-Artistic Director of Luleå Art Biennial in 2022 and curator of the sonic festival, Bass Cultures, How Low Can You Go! Falkenbergs teater, Sweden in 2023. He is the co-editor of Urgent Pedagogies Journal Issue #6, Earthed Imagination (2023) and Urgent Pedagogies Journal Issue #9, The Right to design (2024).

Samuel Ian McCarthy (he/him) is a photographer, artist, and emerging researcher currently studying an MFA in Photography at HDK-Valand in combination with an MA in Communication for Development and Social Change at Malmö University; his current practice is centred around questions of ecology, queerness, and justice, specifically trans-species interaction, costs, and imaginaries.

Lars Lindqvist (he/him) is a senior lecturer in the unit for film, photography and literary composition at HDK-Valand; teaching photography at undergraduate and advanced levels, and often arranging extensive workshops focusing on a variety of b&w analogue photographic processes. Educated at Konstfack in the early 90s, Lars is an active photographer, artist, and educator in Gothenburg since 1999.

Through a collaborative practice grounded in holistic values, Sam and Lars engage with the intensifying ecologies of sustainability, violence, and justice. Their artistic research unfolds through workshop-based methodologies that embrace slowness as a form of resistance to extractivism, fossil-fuel dependency, and digital acceleration. Working with alternative and experimental analogue photography, they critically confront the medium’s entanglement with animal-derived gelatine, petroleum-based plastics, and toxic chemical processes. In response, they explore and develop plant-based, non-toxic, and ecologically sensitive approaches; seeking to reimagine photographic practices that are both materially and ethically attuned. Within this framework, heat is not only a threat but an essential ingredient: a catalyst for change, care, and collective alternative imaginaries.

Richard is a visual artist and educator whose practice-led research delves into time, geology and cosmology. He crafts intricate, shifting forms and installations through textile-based works. Richard studied at Manchester School of Art before completing a Textiles MA at the Royal College of Art in 2008. McVetis has been shortlisted for several distinguished prizes, including the Trinity Buoy Wharf Drawing Prize, UK, 2023; the Jerwood Drawing Prize, UK, 2011 and 2017; and the international Loewe Craft Prize, 2018. In addition, McVetis has shown work nationally and internationally at several exhibitions, including Threads at Arnolfini, UK, 2023; The British Textile Biennial, UK, 2021; RENEW at Kettles Yard, UK, 2019; Loewe Craft Prize, Design Museum, London, UK, 2018; ‘Form + Motion’ – a major exhibition with the British Council, South Korea, 2017. In 2022, his solo show was held at the Craft Study Centre, Farnham.

Gerrie van Noord is an editor/curator of publications and educator who has been involved with PARSE Journal since 2016. Her practice focuses on publications as sites for articulation in relation to both artistic and curatorial practices, and she is particularly interested in expanded understandings of collaboration. For Artangel she produced the ‘Afterlives’ publications (1997–2002) and for Book Works she commissioned the ‘Fabrications’ series of co-publications (2006-09). She was managing editor of the critical anthologies The Curatorial Conundrum: What to Study? What to Research? What to Practice?(2016), How Institutions Think: Between Contemporary Art and Curatorial Discourse (2017) and Curating after the Global: Roadmaps to the Present (2019), as well as Between the Material and the Possible: Infrastructural Re-examination and Speculation in Art (2022). She worked with Olivia Plender on the book Rise Early, Be Industrious (2016) and a website of the artist’s entire body of work (2021) and edited Curling Up with Reality (2021), a selection of Isabel Nolan’s writing. Moist recently she co-edited Kathrin Böhm: Art on the Scale of Life (with Paul O’Neill and Mick Wilson, 2023), Not Going It Alone: Collective Curatorial Curating (with Paul O’Neill and Elizabeth Larison, 2024) and Curious (with Paul O’Neill, 2024). Gerrie was a Visiting Lecturer on the MFA at the Glasgow School of Art (2003–15), Associate Lecturer on the MA Arts Policy & Management at Birkbeck, University of London (2006–19) and is now Tutor (Research) on the MA Curating Contemporary Art at the Royal College of Art, London. She has a PhD from Birkbeck, University of London (2021).

Galadriel González Romero is a Spanish-born, Kenya-raised visual artist, Rights of Nature activist, and folklore enthusiast. Their upbringing in close connection with East African ecosystems fostered an ongoing sense of kinship with the more-than-human reflected in themes of ethical collaboration between human and nonhuman beings, climate catastrophe, and speculative worldbuilding in their artistic research. Their artistic interventions weave narratives into landscapes in the form of speculative folktales or science-fictionesque accounts emphasising reconnection with our environment in a time of ecological collapse.

Sara Sassanelli is co-founder of Alice Agency and Associate of CONDITIONS studio programme. Until 2024, they were Curator of Live at the Institute of Contemporary Arts (ICA) where they programmed across dance and electronic music, with a focus on emerging artists. Their work explores collective and enthusiastic cultures that form around raving and how these manifest in multidisciplinary practices. Their most recent ICA programme, this dark gleam (2024), showcased artists engaging with formal technique, social dance, pop culture, and punk sensibilities. Currently, they are collaborating with Eve Stainton, Fernanda Muñoz-Newsome, Billy Bultheel, and Jose Funnell, among others. Previously, they have worked at Tate, Goldsmiths, and the Royal Academy of Arts, and have programmed events at Ormside Projects, Somerset House Studios, Southwark Platform, Guest Projects, Arts Admin, Fierce Festival, and Block Universe. They programme across dance and electronic music.

Recent programming includes: NX FUIMO by Tamara Alegre (2024), GONER by Malik Nashad Sharpe (2024), Afterlife by Louis Schou Hansen (2024) IMPACT DRIVER by Eve Stainton (2023), minus one series (2022 – 2023), Dykegeist by Eve Stainton (2021), The Last Breath Society by Martin O’Brien (2021), Rave Trilogy by Rebecca Salvadori (2020) The Tender Interval: Studies in Sound and Motion (2020), a convening exploring the transformational qualities of sound and dance practices and an all-night takeover of ICA by collective INFERNO (2020 & 2023).

Ayesha is an interdisciplinary artist and facilitator born and raised in London. Using their background in jewellery as a conduit for speculating ontological relationships, they explore animism and mediums and messages to express anti-colonial wisdom, decontextualised adornment and mysterious materials – past and futures –  that float in open ended and ongoing dialogues between the body and psycho-magic states.

Their practice is led by symbiosis between the cosmos and conditions of consciousness – merging bodies with other bodies both human and not, to somehow locate oneself not just in the world but of it. Figurative forms dance in repetitions illustrating cyclical and divine glitters in nature collapsing time around us. 

They developed a series of speculative alchemical objects (Morley College Scholarship 2024) that considers change and rage through plantcestors and misappropriated symbolic fantasies made through an explorative aniconic design practice with each piece made using copper finished in natural patinas with fire, water and soil.

Ongoing and previous awards and residences include: Blackhorse Road Maker in Residence (UK), Feminist Lecture Curatorial Programme (UK), Arebyte X Goldsmiths University Artist in Residence (UK) and Morley College Jewellery Scholarship (UK).

Cara Tolmie spends much of her time oscillating between contexts as an artist, musician, performer, DJ, pedagogue and researcher. Her practice at large investigates the complexity of the bind between the voice and body – of how voice can traverse internal and external realities of both the sounder and listener and how it can research various qualities of embodiment, both pleasurable and disorienting. She is currently finishing a PhD at Konstfack, Stockholm, in critical sonic practice. 

Montana Torrey is an artist, researcher, and educator. Her current doctoral research explores how expanded painting and printmaking can be used as a tool to investigate the geological and the archeological imaginary via overlapping temporal and spatial scales. Through this practice-based approach, she examines the intersections of palimpsests, material traces, weather, and time.

Montana received a BFA from The School of the Art Institute of Chicago and a MFA from The University of North Carolina at Chapel Hill. She has been an artist-in-residence at Skowhegan School of Painting and Sculpture, Headlands Center for the Arts, Vermont Studio Center, Catwalk Institute, and the Frank Lloyd Wright School of Architecture, among others. In addition, Montana has taught at Chiang Mai University, Lane College, UNC-Chapel Hill, and North Carolina Wesleyan University.

Marina Otero Verzier is an architect and researcher whose work sits at the intersection of critical spatial practices, ecology, technology, and activism. In 2022, she received the Harvard GSD’s Wheelwright Prize for a project on the future of data storage. She is a Lecturer in Architecture at Harvard GSD and Dean’s Visiting Assistant Professor at GSAPP, Columbia University, New York, where she leads the ‘Data Mourning’ clinic, an educational initiative focused on the intersection between digital infrastructures and climate catastrophe. She collaborated with the Supercomputing Center of the DIPC to develop alternative models for storing data, such as the project Computational Compost, first presented at Tabakalera. Otero was also invited by the Ministry of Science, Technology, Knowledge, and Innovation to participate as an expert in the development of Chile’s first National Data Centers Plan, together with “Resistencia SocioAmbiental – Quilicura” and other local communities on the front lines of extractivism. Otero was the Head of the MA Social Design Masters at Design Academy Eindhoven (2020-2023) and  Director of Research at Het Nieuwe Instituut (2015 to 2022). She  has curated exhibitions such as ‘Wet Dreams’ at Mayrit, CentroCentro (2024), ‘Compulsive Desires: On Lithium Extraction and Rebellious Mountains’ at Galería Municipal do Porto (2023), ‘Work, Body, Leisure’ at the Dutch Pavilion at the Venice Architecture Biennale (2018), and ‘After Belonging’ at the Oslo Architecture Triennale (2016).  Otero is the author of En las Profundidades de la Nube (2024), a book on data storage and sovereignty in the AI era. The book proposes new paradigms and aesthetics for data storage, integrating architecture, preservation, and digital culture.  She has co-edited Automated Landscapes (2023), Lithium: States of Exhaustion (2021), More-than-Human (2020), Architecture of Appropriation (2019), Work, Body, Leisure (2018), among others.

Born in England in 1986, Anna Voke works between Paris and the Alps in France. After studying art history at the University of East Anglia (BA, MA), she trained in ceramics in Germany for three years. She then worked in numerous wood-firing and salt-glazing studios throughout Europe, before setting up her personal studio in 2018. She is currently completing a practice-based PhD under the direction of Professors Antonella Tufano and Sophie Fétro at the Institut Acte, Université Paris 1 Panthéon-Sorbonne. Her doctoral research focuses on the interplay of the notions of crisis and chance in contemporary ceramic practices. She has taught ceramics in art schools since 2017, and is currently responsible for the ceramic studio at the Ecole Nationale Supérieure des Beaux-arts de Paris where is an elected member of the Research Council. She is currently leading a ceramic material research project on glacial clays funded by the Beaux-Arts Paris.