Astra Papachristodoulou is a poet and artist with focus in the experimental tradition across poetry, visual art and performance. She has given individual, collaborative, and interactive readings at a range of events in Slovenia, Vienna, and the UK, and has published several poetry pamphlets. Astra also curates Poem Atlas, an event series and network for visual poets, and her work has been exhibited in a range of art venues including the National Poetry Library and the Poetry Café. @heyastranaut.

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Josephine Taylor is PhD student at Royal Holloway, University of London. Her research focuses on energy culture and animal studies, tracing the nonhuman story of oil and its consequences. She is working as an editor for a special issue collection on Climate Justice Interventions Across Disciplines for a Czech Sociological Review. She has also published on China Mieville and Reza Negarestani novels focusing on petroculture and zombie legacies. Further to this, she is a member of the research collective Beyond Gender and affiliate member of the Petrocultures research group.

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Rowan Evans is a poet, composer and sound artist, currently undertaking practice-based PhD research in early medieval language and modern poetry at Royal Holloway, University of London. His chapbook publications include The Last Verses of Beccán (Guillemot Press, 2019) which won the Michael Marks Award for Poetry 2019, freak red (Projective Industries, 2015) and cante jondo mixtape (If a Leaf Falls Press, 2017). He received an Eric Gregory Award in 2015 and a selection of his work appears in Penguin Modern Poets 7: These Hard and Shining Things (Penguin, 2018). Rowan is co-editor of Moot Press, where he co-curated the Anathema reading series. He is artistic co-director of the interdisciplinary performance company Fen, with whom he was a Creative Fellow at the UCL Institute for Advanced Studies, 2019-20. @rowanpevans/rowan-evans.com

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Redell Olsen is the current director of the Royal Holloway, University of London Poetics Research Centre. Her publications include: Film Poems (Les Figues, 2014), Punk Faun (Subpress, 2012) and the collaboratively edited Here Are My Instructions (Gefn Press, 2004). From 2006-2010 she was the editor of the online journal How2 and published modernist and innovative poetry and poetics by women writers. Her work is included in the anthologies such as, Trenchart Monographs Hurry Up Please Its Time (Les Figues, 2015). She has published articles on Frank O’Hara, Abigail Child and the relationship between contemporary poetics, feminism and the visual arts. Her film, Now Circa 1918 was recently shortlisted for an AHRC research in film award and she was awarded the DARE Art Prize 2020-21 for her artwork and contribution to the research of the University of Leeds’ BioDAR unit. http://redellolsen.co.uk/

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Iris Colomb is an artist, poet, curator, editor, and translator based in London. Her practice merges poetry and other art forms to explore different relationships between visual and spoken forms of text. Iris has given individual, collaborative, durational and interactive performances in the UK, Germany, Austria, Romania, and France, at the Bucharest International Poetry Festival, the European Poetry Festival, and the Southbank Centre’s Poetry International Festival among others. These performances have involved human collaborators as well as metal tubes, massive spools, hand-held shredders, red bins, hundreds of cigarettes, shouting over hairdryers, spitting in books and faces, and turning audiences into poetry machines.

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Michaela Atienza is an English Literature PhD candidate at Royal Holloway, University of London, and a faculty member of the Department of English and Comparative Literature at the University of the Philippines. She is working on experimental approaches to the work of T.S. Eliot, and is interested more broadly in experimental writing as a viable practice within the field of English Studies.

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Suzannah V. Evans is a doctoral researcher at Durham University. She has published poems in PN Review, The London Magazine, The Scotsman, and elsewhere, with others broadcast on BBC Radio Bristol and awarded the 2020 Ivan Juritz Prize for Creative Experiment. She is the winner of a 2020 Northern Writers’ Award for Poetry from New Writing North. Her debut double-pamphlet Marine Objects / Some Language was published with Guillemot Press in April 2020.

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Nat Reeve is a TECHNE-funded doctoral candidate at Royal Holloway, University of London, working on all that’s spectral, queer, medievalist and disruptive in Elizabeth Siddal’s art and poetry. Nat’s also the 2020 Pre-Raphaelite Fellow at the University of Delaware and Delaware Arts Museum, and the 2019-20 Assistant Director of the Royal Holloway Centre for Victorian Studies. When not researching Siddal, Nat can be found writing and performing creative work for various events, frequently centring on the artworks in the Royal Holloway Picture Gallery. Other academical interests include medieval book history and the late-Victorian police.

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Generative Constraints is a committee that practises open-ended collaborative research into art, politics, and theory. We experiment with processes and structures of criticism, performance, poetics, and writing. Our activities include organising conferences and public dialogues, teaching, making original creative works, as well as digital publishing and exhibition curation. We are interested in exploring the ways in which the committee offers a stable and non-hierarchical structure for artistic exploration, and allows for different modes of interrogation that are informed by our particular politics and practices. Break Up Variations: An Annotated Score (2019) is published in Performance Philosophy, you can read it here: https://www.performancephilosophy.org/journal/article/view/227. Committee members: Diana Damian Martin, Kate Potts, Nisha Ramayya, Nik Wakefield, Eley Williams.

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Sarah Cave is a writer, academic, and editor living in Cornwall. She is currently working toward a practice-based PhD in the poetics of prayer at Royal Holloway, University of London, where she was awarded a college studentship. She has published two pamphlets, an illustrated chapbook about the Moomins, two collections: An Arbitrary Line (Broken Sleep Books) & Perseverance Valley (Knives, Forks and Spoons Press) and the co-authored collection A Confusion of Marys (Shearsman Books). She co-runs the award-winning Guillemot Press. Sarah’s creative and critical work has been published in numerous journals and magazines including Poetry London, Oxford Poetry, Stand, Tears in the Fence and Datableed. Her work has been exhibited at The Poetry Society, Westminster Reference Library and The Fish Factory (Falmouth). She has performed her work at numerous festivals, conferences, and events including Bodmin Moor Poetry Festival, Tears in the Fence Festival, Folk Horrors 2019, Paris 8’s Young Writers Festival (galerie éof) and Manchester Met’s English: Shared Futures conference.

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Briony Hughes is a poet and Techne AHRC funded doctoral researcher based at Royal Holloway, University of London. She is interested in kinetic movement in language, water bodies, the archive, and site-specific writing. Briony's publications include Dorothy (Broken Sleep Books, 2020) and Microsporidial (Sampson Low, 2020). Her work has recently been featured in Datableed, Permeable Barrier, Stride Magazine, Decorating Dissidence. Her limited edition bookworks have been collected by bookartbookshop, Senate House Library, National Poetry Library, and the Foyle Special Collections at Kings College London. Briony is a founding member of the Crested Tit Collective, also curates the Crested Tit Collective pamphlet series, which can be found in the National Poetry Library.

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Ella Frears is a poet based in London. Her debut collection Shine, Darling (Offord Road Books, 2020) was a Poetry Book Society recommendation and is shortlisted for the Forward Prize for Best First Collection. Her poems about the St Ives Modernists are currently on show at Tate St Ives.

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Caroline Harris is a writer, publisher, lecturer and poetic practice PhD student at Royal Holloway, University of London, researching the poetics of deer. Her debut bookwork, SCRUB management handbook No.1 Mere, is published by Singing Apple Press and held in the National Poetry Library and Bodleian Library collections. Her language art work has been exhibited at the Beaumont Gallery and Plough Arts Centre and poetry is published or forthcoming in Fake (Corrupted Poetry), PERVERSE and Rewilding (CTC Poetry). Her Small Birds Press is a micro publisher of material and DIY poetry that tunes into the many worlds beyond the human. @carolineyolande/@waitingfordeer

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Lavinia Greenlaw is Professor of Creative Writing at Royal Holloway, University of London. She has published six collections of poetry with Faber & Faber including Minsk (2003), which was shortlisted for the T.S. Eliot, Forward and Whitbread Poetry Prizes, and The Casual Perfect (2011). A Double Sorrow: Troilus and Criseyde (2014) was shortlisted for the Costa Poetry Award. Her latest collection, The Built Moment, was published in February 2019. Her first novel, Mary George of Allnorthover, was published in 2001 and won the Prix du Premier Roman Etranger. A second novel, An Irresponsible Age, appeared in 2006, followed by two non-fiction works: The Importance of Music to Girls (2007) and Questions of Travel: William Morris in Iceland (2011). Her third novel, In the City of Love’s Sleep, was published in 2018. Her sound work, Audio Obscura, was commissioned in 2011 from Artangel and Manchester International Festival, and won the 2011 Ted Hughes Award for New Work in Poetry. She was made a Fellow of the Royal Society of Literature in 2004.