Suze Adams‘ work centres on the relationship between bodies and spaces, the physical and psychological resonances of embodied experience. Employing a phenomenological methodology, Suze used her practice-led PhD (UWE Bristol, 2006-2012) to examine her family history on the Hebridean Isle of Mull, exploring the enduring hold of the island on surviving relatives through performance, film, photography and sound. Through works produced, Suze attempts to suggest something of her experience: emotive as well as more calculated responses, intimations of the seen and the sensed. Her artwork treads a delicate path between documentation and poetry, ever teetering between presence and absence.

Suze has carried out artist residencies at Forest of Dean Sculpture Trail, Gloucestershire (2007), AA2A at Gloucestershire College (2013-2014), Lightlines at Abbey Walk Gallery, Grimsby (2015) and Fringe Arts, Bath (2016). Exhibition highlights include MAMU, Budapest; SVA Stroud; Salisbury Arts Centre; and the ViSiONA festival, Huesca, Spain. Her research has been published in ‘Body and Performance’ edited by Sandra Reeve (2013) and ‘Home/Land: Women, Citizenship, Photographies’ edited by Marion Arnold and Marsha Meskimmon (2016). Suze is a part-time lecturer in Visual Culture at UWE Bristol and works from her studio in CLaSH, Bristol.

Nicky Bird is an artist whose work considers contemporary relevances of ‘found’ photographs and hidden histories of specific sites, investigating how they remain resonant. Her work incorporates new photography with oral histories and collaborations with people who have significant connections to the original site and its photographic archive.

Her recent commissioned projects and exhibitions include: Ghosting the Castle (2017), Alt-w | Heritage Site Edinburgh (2016), Travelling the Archive Isle of Skye (2016), Tall Tales UK national touring show (2016), Family Ties; Reframing Memory, London (2014) Seduced by Art: Photography Past and Present, London & Madrid (2012-13) and Beneath the Surface/Hidden Place Edinburgh (2007-2010). Published essays are on themes of erased place and digital exchange of photographs are featured in ‘Home/Land: Women, Citizenship, Photographies’ edited by Marion Arnold and Marsha Meskimmon (Liverpool University Press 2016), ‘True North: From Documentation to Rewriting History’ (Timespan, Helmsdale Heritage and Arts Society, 2016), and The Photograph and The Album: Histories, Practices, Futures edited by Jonathan Carson, Rosie Miller & Theresa Wilkie (MuseumsEtc, 2013). Nicky is a Reader in Contemporary Photographic Practice at Glasgow School of Art.

Jacqueline Butler’s practice reflects on time and memory in relation to the photographic and the cinematic, exploring narrative and contemplations on the material qualities of the photograph. She works with photography, video, the artist book, writing and curation, and has a particular fascination with archives and collections (both public and private). Currently undertaking a PhD at Glasgow School of Art, her research considers what constitutes photography in the 21st Century, combining pre-photography principles with traditional and new print technologies. Jacqueline’s arts practice explores themes associated with photography, of loss and melancholia.

Recent group exhibitions have included Revela-T Festival, Barcelona, Spain (2016), Tall Tales, Touring: London, Rochdale and Glasgow (2016), ViSiONA Festival, Huesca, Spain (2016), JHB Archive 23/1961, Birmingham Open Media (2015), Actinic Alternative Photography Festival, Summerhall, Edinburgh (2015), Incubarte7 international Art Festival, Valencia, Spain (2015) Her work is held in public and private collections including Yale Center For British Art, New Haven, USA, International Center For Photography, New York, USA and Winchester Art School, Library Special Collections. Jacqueline is currently Head of Department and Research Degree Coordinator for Media at Manchester School of Art, MMU. Jacqueline also sits on the Executive Board at Open Eye Photography Gallery, Liverpool and on the Advisory Board of The Image International Research Network. Recent published writings include a chapter in Picturing the Family: Media, Narrative, Memory, edited by Silke Arnold-de Simine and Joanne Leal (Bloomsbury, 2018).

Rosy Martin is an artist-photographer, psychological-therapist, workshop leader, lecturer and writer. She explores the relationships between photography, memory, identities and unconscious processes using self-portraiture, still life photography, digital imaging and video. From 1983, with Jo Spence, she pioneered re-enactment phototherapy. Her work has explored issues including gender, sexuality, ageing, class, memory, urbanism, location, family dynamics, mother- daughter relationships, health, disease, bereavement, grief and reparation.

She has exhibited internationally since 1985, including Photographers Gallery, London (1987), Tokyo Metropolitan Museum of Photography (1991), Randolph Street Gallery, Chicago (1991 & 1994), Focal Point Gallery, Southend-on-Sea (2001), Documenta 12, Kassel, Germany (2007) Durham Art Gallery (2010) and Tate Britain (2015-6).

Her research has been published extensively, including chapters in ‘Family Snaps: the Meanings of Domestic Photography’ (Virago, 1991), ‘Stolen Glances: Lesbians Take Photographs’ (Pandora 1991), ‘What Can a Woman do with a Camera?’ (Scarlet Press, 1995), ‘Feminist Approaches to Art Therapy’, (Routledge, 1997, Revised 2012), ‘Stilled: Contemporary Still Life Photography by Women’ (Iris and Ffotogallery, 2005) ‘Ageing Femininities, Troubling Representations’ (Cambridge Scholars 2012), ‘Phototherapy and Therapeutic Photography in a Digital Age’ (Routledge, 2013) and ‘Home/Land’ (Liverpool University 2016). She is a qualified psychological therapist and held lecturing posts in visual culture and art/photographic histories at Staffordshire University, Loughborough University and Maidstone College of Art.

Lizzie Thynne is a film-maker and writer. She was video director for Sisterhood and After (2013) and has made a number of films on women’s history, gender and sexuality. Her latest feature documentaries are Brighton: Symphony of A City (2016) (with composer Ed Hughes for Brighton Festival), a modern take on the classic silent genre; On the Border (2013), an experimental exploration of her Finnish mother’s history, and Playing a Part (2004), on the surrealist photographer Claude Cahun and her partner Marcel Moore with choreography by Lea Anderson. In 2018, Lizzie was awarded a major grant by the Arts and Humanities Research Council to lead a project about the life and work of one of the earliest women documentary makers in the UK – Jill Craigie (1911 – 1999), whose career as a film-maker and suffrage historian, has long been eclipsed in public memory by her role as the wife of former Labour leader, Michael Foot.

Lizzie is also the author of several articles about Cahun and Moore (including for ‘History of Photography, Papers of Surrealism’). Her work has been exhibited at major galleries and venues including the Jeu de Paume and BFI Southbank and screened on Channel 4 and spans different forms of critical practice, written and visual. She has published on practice as research, women’s employment in television and queer representation. She has been active in developing practice-led research in the media field. She is currently Reader in Film at Sussex University where she leads the MA Digital Documentary and supervises practice-led PhDs.

Sally Waterman creates autobiographical photographic and video works that explore memory, place and familial relationships through literary adaptation. Drawing upon writers such as Henry James, Sylvia Plath and Virginia Woolf, she re-invents the source material through a fragmentary re-scripting exercise, allowing the chosen text to function as a mechanism for self-representation. Her practice-based PhD at the University of Plymouth (2004-2010) used T.S Eliot’s 1922 poem, ‘The Waste Land’ to examine her interpretative methods.

Group shows and screenings include ‘Shifting Horizons’, Derby Museum & Art Gallery and Midland Arts Centre, (2000-2001), ‘Forest’, Nottingham Castle Museum, Oriel Davies Gallery, Wolverhampton Gallery and York Art Gallery (2004-2005), ‘What Happens Next?’ Pitzhanger Manor House and Gallery, London (2008), ‘Voyage’, Künstlerhaus, Dortmund, Germany (2013), Berlin Experimental Film Festival (2016), Aesthetica Short Film Festival, York (2017) and ‘Journeys with The Waste Land’, Turner Contemporary, Margate (2018). Her work is held in public and private collections including The School of Art Institute of Chicago, the National Art Library at the V&A and the Yale Center for British Art, New York.

Published works include ‘Performing Familial Memory in Against’ in Picturing the Family: Media, Narrative, Memory, edited by Silke Arnold-de Simine and Joanne Leal (Bloomsbury, 2018) and ‘Re-imagining the Family Album through Literary Adaptation’ in Global Photographies: Memory–History–Archives, edited by Sissy Helff and Stefanie Michels, (Transcript, 2018). She has lectured at Plymouth College of Art and the University of Plymouth and is currently a sessional lecturer at Ravensbourne University London and UCA Rochester.


2 thoughts on “Co-ordinators

  1. Fay Ballard

    Dear members,
    I am very excited to find you! I’m an artist who explores my memories of my family through drawing. I have an exhibition on at the moment at Eleven Spitalfields Gallery, entitled ‘House Clearance’. Please see
    My website provides further details.. Please see
    I would love to join your group if that was at all possible please?
    Thank you and best wishes,

  2. Karl Child

    Hi Family Ties Network, Myself and my partner Claire Angel are both photographers based in the North West and our work is focused around memories and the family album. We have recently held an exhibition of our work in London and both create photo-books of our work. My most recent project explored my relationship with my father who passed away when I was 8 years old, I have very little memory of him and the images I have trigger no internal memories, meaning the prints in my family archive are now purely external “hard copies” of my past. Claire’s most recent project was similar in the subject matter but a completely different approach. Her most recent book used photography to tell the story of her life from the age of 14 when she found out the man she believed to be her father wasn’t who she thought. She uses a combination of found photos, family archive material and new images to take the viewer on a journey, expressing her emotions and experiences and she tracks down her real father and meets him for the first time. We have both recently graduated from university with high 2:1 BA (Hons) Degrees in Photography and our thesis were both related to photography as a therapeutic tool for memory. We are currently looking for funding to create more copies of our books and also for grants to take our education a step further by studying Masters Degrees focused around our interests in Photography and Therapy. Your network sounds fantastic and we are both very keen to get involved with anything we can in the future. I also run a separate photography collective called FOPAR which looks at the urbanisation and gentrification of specific places and spaces, and the changing landscape. Here’s a list of links to our portfolios, please feel free to get in touch. We look forward to hear from you soon.

    Karl Child and Claire Angel.

    Karl –
    Claire –
    FOPAR –

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