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BALTIC Artist’s Archive Residency Announcement

In Residence: December 2021 – July 2022

We are pleased to announce that Undutiful Spirit has been selected for the BALTIC Archive Artist’s Residency.

Undutiful Spirit is a collaborative practice-led forum by artists Rosie Morris and Harriet Sutcliffe with curator Gayle Meikle. During their residency they are invited to research and develop their practice through close engagement with BALTIC Archive, which chronicles the organisation’s history, exhibitions and events through physical items and digital documentation.

The artists, who are based in Newcastle upon Tyne, will explore site-specific working methods generated through the female subject experience, considering BALTIC Archive as a meeting place to think about female identities, histories, mythologies, and potential civic futures through archival methodologies. They will share their research with the wider public through an event as part of BALTIC’s Public Programme to coincide with our twentieth year celebrations in July 2022.

Rosie Morris is an artist and lecturer. Her practice is grounded in site, examining the ways in which specific spaces are viewed, thought of and experienced bodily. Through perspectival painting, architectural installations, projected light, print-making, sound, film and text, in gallery and heritage locations, she works to dismantle and reconfigure a space’s atmosphere and histories, creating a new and meditative encounter with being here and now.

Harriet Sutcliffe is an artist, curator, researcher and lecturer. Her practice is often rooted in and imbued with a sense of place. Sutcliffe's work usually responds to a collection, site or archive through sculpture, installation, creative writing, drawing, textiles, printmaking and workshops; her work seeks to reveal hidden/obscured histories and/or narratives.

Gayle Meikle is a curator, researcher and lecturer. She specialises in bringing artists, artworks and audiences together to create site-responsive and critically engaged projects. She takes an intersectional and relational approach to curatorial practice rooted in material feminisms (a strand of feminist theory that thinks with the natural, human and material worlds), critical spatial practice and socially engaged art.