Announcing our new programme of activity in Corby, at Barnwell Country Park, Brixworth Country Park and online, between 2022 and 2024.
The Trickster Trailer is a mobile art workshop built in collaboration with the public using waste materials from major art institutions.
Announcing a new programme of artist led workshops for young people with complex medical and mental health conditions.
Our School Assembly is a free online resource for schools using previous projects to excite pupils and help them be more ambitious in questioning what art can be and where it might be found.
Stuart Moore describes his artistic problem solving to support our recent exhibition programme by way of toads, crabs and cyber clam eyes.
Students drew with LED lights to create the digital equivalent of stirring a liquid to create dazzled after-images.
A Phone Box Gallery exhibition featuring digital images and 3D printed sculptures made by students manipulating and visualising heart rate data from running through nearby woods and fields.
Our 2020-21 Alternative Provision programme with students from The CE Academy is celebrated in an online publication.
Musician and artist Rebecca Lee returns with a new sound work and discussion in the last podcast of our 2021 season.
Fermynwoods brings Bill Viola to East Carlton Countryside Park with an arcade presentation of his innovative video game The Night Journey.
Forest Law is a new body of work by David Blyth to accompany our exhibition at Rockingham Castle, available to view online or in augmented reality.
Jess MacNeil’s “timeless observation of inhuman phenomenon” and a reflection of the eerie absence of crowds during recent lockdowns.
An exhibition curated by Yasmin Canvin at East Carlton Countryside Park of art made when working with and not against the elements.
An exhibition at Rockingham Castle responding to the history of one of the few homes in England that have been continuously occupied for nearly 1,000 years.
Artist Simon Faithfull in discussion with curator Yasmin Canvin about his influences, his film Going Nowhere 1.5, and the dark humour of Sisyphus
Sarah Gillett’s The flimsy copy spans layers of myth and history. Two online works and a physical installation combine into a cohesive, epic narrative.