Rosalind Hayes is a lecturer in art history and visual culture at the University of Exeter. Her doctoral thesis, titled “‘Look To Your Eating’: Animals, Meat and Visual Culture in Britain, 1880–1910”, was supervised by Professor Richard Taws at University College London. Her research interests span human-nonhuman histories, food studies and art’s animal materialities. Outside of academia, she has worked with art organisations in the UK and Europe, and has taught on programmes delivered by the educational charity Art History Link-Up.
Chloe Asker (they/them) is an academic researcher, writer and Queer creative health practitioner. In their academic career, they have worked with universities (University of Exeter, University of Arts London, McMaster University and University of Surrey) and third sector (Culture& and Birmingham LGBT) organisations across the UK and internationally. Their work is cross disciplinary, spanning arts and health, health geography and medical humanities. Chloe is interested in socially engaged research practice, with a strong commitment to anti-colonial, anti-racist, feminist and Queer theories and frameworks.
Chloe has recently worked on an arts and dementia project, Culture Box, funded by AHRC, which has been awarded follow-on funding to continue impact and dissemination activities, involving curating an exhibition and creating a training course for activity facilitators. They are the author of a number of peer-reviewed journal articles, chapters in edited volumes, and self-published zines, and an associate editorship for the Journal of Arts and Health. Their academic background cultivated their framework for creative practice and facilitation, germinating from an interest in mindful, feminist, participatory action research (PAR), and creative and arts-based methodologies in the social sciences and humanities. During their PhD, they worked with creative research methods (including zine-ing, body mapping and mindfulness-based art therapy) to explore the therapeutic uses and cultures of mindfulness. Participatory and community-based arts are integral to their practice alongside working with marginalised or under-represented communities, such as the Queer community, those experiencing shame and/or trauma, and people with mental health conditions/neurodiversity.