Associate Studio Programme

Nina Davies (ASP 2 2015-17), Joe Moss (ASP 2 2015-17) and Philip Speakman (ASP 4 2017-19) are showing as part of “Phantasmagoria: Folkloric Sculpture for the Digital Age” at Henry Moore Institute, Leeds. Visit from 15 May 2026 to discover a new generation of artists - Jürgen Baumann, Danielle Brathwaite-Shirley, Nina Davies, Joey Holder, Joe Moss, Most Dismal Swamp, Steph Linn and Philip Speakman, Isaac Lythgoe and Rustan Söderling - exploring how digital technologies are reshaping what sculpture can be and using them to tell stories about our past, present and future. Phantasmagoria: Folkloric Sculpture for the Digital Age will be at Henry Moore Institute, Leeds, 15 May - 30 August 2026, free entry. Join us for the opening celebrations on Thursday 14 May Images: 1. Nina Davies, Symbol 2025 Courtesy the artist 2. Isaac Lythgoe, When everything is new the pleasures are skin deep 2023. Courtesy the artist 3. Rustan Soderling, Virus Meadow 2022 Courtesy the artist 4. Danielle Brathwaite-Shirley, PIRATING BLACKNESS/BLACKTRANSSEA.COM 2021 (game still). Courtesy the artist and Public Gallery, London 5. Most Dismal Swamp, still from Scraper 2023 Courtesy the artist 6. Joe Moss, Time Compression 1 2024 Courtesy the artist 7. Joey Holder, The Woosphere 2025 Commissioned by Vienna Digital Cultures Jointly organised by Foto Arsenal Wien and Kunsthalle Wien. Courtesy the artist Artists: @juergen_baumann @ladydangfua @influential_bro @joeyholder__ @joemoss1 @most_dismal_swamp @reduce_productivity @philipspeakman @isaaclythgoe @rustansoderling Curated by: @sean_d_k #phantasmagoria @fine_art_csm @csm_news @chelseaual @camberwellual @unioftheartslondon @acme.art

@dylancapon_ ASP12 Open Studios (part 2) featuring ‘I can be angry and still love you’ shown at CSM’s 2023 open studios. These two works are continuations of each other. It’s the closest I’ve gotten so far to blending my writing and artwork together in a way that isn’t a book. I said before that my artwork is flat and my writing is charged. Sometimes it’s the other way around, where the text gets stripped back and the artwork becomes more detailed. ‘I can be angry and still love you’ was a good example of this, whereas my recent open studios was a more forced effort to make the two modes of communicating meet in the middle. For now, I think there’s enough context to bite into; something sad but nice.

@dylancapon_ ASP12 Open Studios (part 1)

@dylancapon_ ‘WEARING PAPER’ was a little side project I did at uni. This was an experiment to try and think of publishing as exhibiting.

@dylancapon_ ‘Dissertation’, shown as part of CSM’s open studios in 2025. The piece is rather self-explanatory; when I asked for an honest opinion, a tutor in third year said, “it’s rather on the nose, isn’t it?”. She definitely didn’t like the piece, but I loved her response because, even though she wasn’t vibing, she saw that I was being obvious. I don’t refute her claims at all, it was what I was going for. Even more obviously, I decided to lean into the fact I worked at (and hated) Uniqlo at the time. @thewhitepube ‘s ‘Poor Artists’ talks about @jon_a_edgley ‘s performance, ‘That’s a wrap’ (2019). I loved reading about it because it made me feel less silly about how much my job was affecting my work. I want to revisit this piece because my understanding of what I was writing has now changed. Art is a form of language which is a form of communication. I think my dissertation fell flat in places when I’d declare that art and language are somehow opponents — they are not. Art is a dialect of language.

@dylancapon_ ‘T-shirts’ was shown at CSM’s 2024 open studios. This work started with a publication, ‘photos from Home’. I like starting works with a book because I can then think of how I can publish it in a way that’s not a book. I landed on T-shirts because I think they’re cool and I used to work at Uniqlo (ironically I now work at a bookstore). Hanging my thoughts out to dry felt right, because that’s what I wanted to do with them. The T-shirts are still drying. Some are dry (safe) enough to wear. Some will dry in time (be safe soon). Some of them I no longer want to wear, even if they’re dry (I’ve moved on). This body of work is still continuing to inform my making, I said before that when I’m working on something visual I like to engage with flat and intuitive ideas (think of that tweet that was like “me taking a picture of anything I find visually pleasing”); I like doing this because I start with the place my writing ends - peace. When I write, it’s rather chaotic, and I can’t end the text until I find some peace with it. When I make work I find the struggle through the peace. Home continues to be a really charged subject for me. Thinking in terms of water, my art is a puddle of ocean water. Oceans can be dangerous despite their beauty, and so puddles serve as respite for me. It is still evidence of an ocean but it’s safe. The puddle is ignorant of its distant cousin’s depth, and ignorance is one of our society’s greatest privileges.

@dylancapon_ ‘Bags IV’ - screen print on metal, oil based screen ink will never dry on a metal surface. ‘Bags IV’ was shown as part of CSM’s 2025 degree show. It started with ‘Bags’, an image of my old kitchen wall that had been repeatedly scuffed by shopping bags hung on the door. It really grabbed me for some reason; the passing of time is unrelenting but also beautiful when silent. My visual work represents everything that my life is not: quiet, slow, and surface level. My writing engages with harsh topics like childhood traumas and global crisis and how the personal experiences I have been through shape my understanding of what’s around me. My artwork is a somewhat dialectical “other side”, where I engage in flat and intuitive ideas. The through line is meaning, either lack there of or far too much of it. There’s something slightly perverse and audacious (according to a tutor in third year (huge compliment in my eyes)) about making such sterile and male work when the writing I do is messy and boyish. I like to be literal, and so the empty space around and in my artwork is there to be filled with the viewers own messy childlike thoughts. If my writing is woke then my artwork is dissociative, both incredibly necessary survival tools for navigating something larger than oneself.

Here is one of the things I've been working on in the studio! (@sadieameliereesart ) Working with an old filing cabinet, some old wooden barn doors and other bits too. Something I've been really focused on for a while is the tipping points of objects, how much of their own weight they can support, how minimal these supports can be, and what points of contact matter the most. This has looked like lots of suspending objects in motion by using hooks, cam buckle straps and poles. I'm continuously testing these materials by changing the angles and positioning until they collapse on themselves, then starting again. Searching for the specific moment just before disaster. I know and can feel that there is a lot of physics involved in this, but I'm much more interested in luck. Bad physics and luck, that's what I've been working with.

Some thoughts (and pictures) about collection. (@sadieameliereesart ) Most of my practice orbits around collection. It's always the starting point and my ongoing reference. Sometimes this looks like walking/driving around, picking things up and taking them back to the studio. Other times is scouring eBay and facebook marketplace, and inbetween it's collating imagery I find online and in my camera roll. I like this process because I work by reducing. Starting with a lot of materials and imagery, then gradually refining it down through experiments, to a specific moment, with the exact materials that make that possible.

Hey! I'm Sadie ( @sadieameliereesart ) one of the artists on ASP 12! I am a sculptor who works with discarded materials and objects. My practice takes place within an ongoing series of experiments; bending, folding, cutting, tilting and hanging objects. Through this process I'm seeking to find precise moments within the chaos, an unnerving point between disaster and the mundane. Eventually focusing on tension, form, shape, and the precariousness of the moment. - This week I will be taking over on this account and posting some thoughts, photos and research bits to try and share a little bit of me and what I get up to in the studio. - Here is me in a hauling around a wonky red table I found, my studio space at some point in time, and a few previous works that I like. 💌

Some recent experiments, progressing the next iteration of 'Me, Her and the Computer' with @phoeberayner_ Kite Simulation - Developed on a recent @hawkwood_cft artist residency

Short clips of a website I have been developing over the past few months. Audio: Kaija Saariaho – Petals, with Anssi Karttunen on cello @charlotte_louiseyoung