Jacqui Dodds
Jacqui Dodds’ practice revolves around memories of places visited. Jacqui then retraces, relives images and feelings of these spaces and with these ideas in mind creates her own narrative and  essence of the place and objects within them in print and painting. ‘The Space Between’ was a response to the snow laden landscape, the herringbone floor and the artefacts in the Museum at Wroxeter Roman City. Jacqui lives in Shropshire, is a member of Birmingham Printmakers, her work is exhibited nationally and in 2014 Jacqui was a finalist in the neo:PrintPrize, and the Nottingham Castle Open exhibition.
Jill Impey
Jill Impey, film and installation artist, explores the formation of human identity and culture in relation to place, heritage and our collective history of migration. Focusing on the role of the artist revealing truths, through notions of shifting borders, boundaries and thresholds; the human is communicated through the mundane and the beautiful, offering a contemporary evolutionary reference point. Arts Council England Funded beinghumanproject is a touring 3 screen installation featuring young people from the West Midlands responding to their local art gallery collections; revealing their relationships with the wider world through moments of recognition of identity, community and cultural exchange.
Elizabeth Turner
Elizabeth Turner’s artwork explores ideas about memory and personal mapmaking of the landscape. How we remember places and journeys not as a whole but as a collection of fragments that constantly change. Her sculptures often combine architectural forms with fragments of imagery and create a dialogue between object making and distances viewed. Her artwork has been exhibited in Newcastle, London and Glasgow. “From Wyle Cop to the Moon” is inspired by Henry Blunt, a 19th century Shrewsbury chemist who built his own telescope. Blunt’s electrotype models of themoon’s surface brought large areas of a very distant landscape within reach.
Julie EdwardsJulie Edwards 'Shift' Installation Curiosity, Shrewsbury Museum and Art Gallery
Julie Edwards is an Installation Artist and Sculptor inspired by the natural environment, social history and place. Themes of time, change and renewal can be found in her work. Materials are carefully chosen for their relevance to the idea or site. Julie’s work is challenging and questioning, subtle and emotive with a powerful presence. She produces sensitive work that presents the viewer with something that could have been overlooked. The poetic presentation of the work also holds a concept of the negative and the journey from the negative. Essentially her work isabout change, the transience of time; moments on a collective journey.
Sue Challis
Sue Challis’ work explores the way we try to make sense of the past through our contemporary experience, always looking for connections and fit. Unguided Tour was inspired by a visit to Pompeii and reading Sontag’s essay of the same name; Tap Tap (for the Much Wenlock Poetry Festival) is a textual riff on this theme, questions we might ask the long-dead if we could about the objectsthey leave behind. Sue lives in Shropshire and works nationally and internationally. Her artwork, often about the translation of ideas through forms, ‘languages’ and genres, has shown in London, the US and Cairo.
Keith Ashford

As a working Artist Keith Ashford has been involved in organisations that bring together artists to enable them to continue their artistic practice. His current art practice involves exploring specific sites through sculpture and video, sometimes using remote and digital systems to record images. His previous research has looked at the role of chance and behaviour in machines to make drawings.

Ann Kelcey (past member 2016)Ann Kelcey - Figurine, porcelain
Ann is a ceramic & mixed media artist with a studio workshop in Clun, south Shropshire. Her work is inspired by European Bronze Age artefacts, & by her experiences as artist in residence at a tell settlement in Hungary. The sense of direct connection with people from a bygone age through this experience has made Ann appreciate more than ever that an object or fragment has a whole history and cultural story beyond the tangible. Ann hopes to cross the boundaries of time and inspire others to appreciate the skills and artistic sensibilities of prehistoric makers, and to ponder on the wider social and domestic contexts of such artefacts.