![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2026\/02\/Screenshot-2026-02-09-at-11.36.39-802x1024.png\")
<\/figure>\n\n\n\nLINK TO TALK<\/strong>:<\/p>\n\n\n\n https:\/\/recap.cloud.panopto.eu\/Panopto\/Pages\/Viewer.aspx?id=92d6003e-68bd-4f40-adfd-b3ee011d288a<\/a><\/p>\n\n\n\n LINK TO TALK<\/strong><\/p>\n\n\n\n https:\/\/recap.cloud.panopto.eu\/Panopto\/Pages\/Viewer.aspx?id=d78b870a-02dc-42eb-b08b-b3e701004005<\/a><\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n LINK TO TALK<\/strong><\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n NO RECORDING FOR TALK AVAILABLE<\/strong><\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n LINK TO TALK<\/strong><\/p>\n\n\n\n https:\/\/recap.cloud.panopto.eu\/Panopto\/Pages\/Viewer.aspx?id=1ae09614-65d8-430c-a820-b3e700e1c6f4<\/a><\/p>\n\n\n\n LINK TO TALK<\/p>\n\n\n\n https:\/\/recap.cloud.panopto.eu\/Panopto\/Pages\/Viewer.aspx?id=b61e2d8a-9d3d-4920-b41c-b3e700e1c728&start=2.803772<\/a><\/p>\n\n\n\n <\/p>\n\n\n\n LINK TO TALK<\/p>\n\n\n\n https:\/\/recap.cloud.panopto.eu\/Panopto\/Pages\/Viewer.aspx?id=8005feb2-094e-4a19-b07d-b3e700e1c7a6<\/a><\/p>\n\n\n\n Link to talk<\/a><\/p>\n\n\n\n <\/p>\n\n\n\n LINK TO TALK<\/strong><\/p>\n\n\n\n https:\/\/recap.cloud.panopto.eu\/Panopto\/Pages\/Viewer.aspx?id=1ff306e5-82ab-4e8e-a621-b3e700e1c7c4&edit=true<\/a><\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n LINK TO TALK <\/p>\n\n\n\n https:\/\/recap.cloud.panopto.eu\/Panopto\/Pages\/Viewer.aspx?id=5997244f-c233-45a2-9754-b3e700e1c821<\/a><\/p>\n\n\n\n <\/p>\n\n\n\n In lieu of Visiting Speaker Programme<\/strong><\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n Link to talk:<\/p>\n\n\n\n https:\/\/recap.cloud.panopto.eu\/Panopto\/Pages\/Viewer.aspx?id=abf941be-e609-46da-8c8f-b3e700e1c8af<\/a><\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n LINK TO TALK<\/p>\n\n\n\n https:\/\/recap.cloud.panopto.eu\/Panopto\/Pages\/Viewer.aspx?id=2eb5f793-5679-48d0-9542-b3e701023d1a<\/a><\/p>\n\n\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n SEMESTER 1<\/strong> <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n This years Visiting Speaker Programme (VSP) combines talks, seminars and tutorials from a wide selection of artists, curators and researchers. <\/p>\n\n\n\n The programme takes place every Wednesday during term time, starting at 12 noon in the Fine Art Lecture Theatre. <\/p>\n\n\n\n The four thematics for this years VSP orbit around Ecological Thinking<\/em>, Critical Media and AI<\/em>, Thinking-Through-Making<\/em> and Wellbeing<\/em>.<\/p>\n\n\n\n Visiting speakers are invited to talk about their creative practice, but also how and why they work the way they do. You will gain insights into creative methods, realising commissions, getting funding, working collaboratively and the many other aspects of being a creative practitioner. <\/span><\/span><\/p>\n\n\n\n <\/span>A cross-year, student-led seminar will take place after the talk. When possible, one to one tutorials will also be offered. Check out the VSP noticeboard for more details and sign-up sheets.<\/span><\/p>\n\n\n\n The VSP is coordinated by Tim Shaw, contact him (tim.shaw@ncl.ac.uk<\/a>) if you would like to get involved.<\/span><\/p>\n\n\n\n 25 September – Chris Watson – https:\/\/chriswatson.net\/ <\/a> 02 October – Joanne Coates – https:\/\/www.joannecoates.co.uk\/ <\/a><\/p>\n\n\n\n 09 October – Clifford Owens – https:\/\/en.wikipedia.org\/wiki\/Clifford_Owens<\/a><\/p>\n\n\n\n 16 October – Kyp Kyprianou – https:\/\/neveroddoreven.org\/<\/a> 23 October – Jayne Dent – https:\/\/www.jaynedent.com\/<\/a> 30 October – Climate Action: Future Climates <\/p>\n\n\n\n 13 November – Emily Compton – https:\/\/www.emilycropton.com\/ <\/a><\/p>\n\n\n\n 20 November – Laura Harrington – https:\/\/www.lauraharrington.co.uk\/about<\/a> 27 November – Mali Morris – http:\/\/malimorris.co.uk\/<\/a> 04 December – Angelos Theocharis – https:\/\/www.ncl.ac.uk\/sacs\/people\/profile\/angelostheocharis.html<\/a> 11 December – Luis Bernardo Guzm\u00e1n – https:\/\/www.radix-lucis.studio\/<\/a> SEMESTER 2<\/p>\n\n\n\n 29 January – Eleanor Edmondson – www.edinburghartfestival.com <\/a><\/p>\n\n\n\n 5 February – Nasheed Qamar Faruqi – https:\/\/nasheedqamarfaruqi.com\/<\/a><\/p>\n\n\n\n 12 February – Rebecca Edwards – https:\/\/rebeccaedwards.xyz\/ <\/a><\/p>\n\n\n\n 19 February – Rachel Maclean – https:\/\/www.rachelmaclean.com\/<\/a><\/p>\n\n\n\n 26 February – Richie Culver – https:\/\/www.richie-culver.com\/<\/a><\/p>\n\n\n\n 5 March – Maria Proshkovska – https:\/\/proshkovska.com\/<\/a><\/p>\n\n\n\n 12 March – Emma Coffield – https:\/\/www.ncl.ac.uk\/sacs\/people\/profile\/emmacoffield.html<\/a><\/p>\n\n\n\n 19 March – Walker & Bromwich – https:\/\/www.walkerandbromwich.org.uk\/<\/a><\/p>\n\n\n\n 26 March – Heiba Lemara – https:\/\/www.v1.sharjahart.org\/sharjah-art-foundation\/people\/heiba-lamara<\/a><\/p>\n\n\n\n 30 April – Lee Cavaliere (Volta) – https:\/\/www.voltaartfairs.com\/<\/a><\/p>\n\n\n\n 7 May – Ingrid Pollard – http:\/\/www.ingridpollard.com\/<\/a><\/p>\n\n\n\n The Visiting Speaker Programme is a mix of talks, student-led seminars and tutorials that will take place every Wednesday during term time. The programme is organised under five themes; Community, Materiality, 21st<\/sup> Century Making, Interdisciplinarity and Social Justice.<\/strong> These headers build on existing interests and expertise amongst students and staff in the department. <\/p>\n\n\n\n The programme aims to demonstrate the many varied ways artists make work as well as highlight expert knowledge from Newcastle University.<\/p>\n\n\n\n The lecture will be held in the Fine Art Lecture Theatre at 12 pm every Wednesday.<\/strong><\/p>\n\n\n\n A cross-year student-led seminar will take place after the talk. If you are interested in participating, please contact gayle.meikle@newcastle.ac.uk<\/a>.<\/p>\n\n\n\n When able to we will offer One-to-One Tutorials. Check out the VSP noticeboard for sign-up sheets. Coming up:<\/p>\n\n\n\n 27 September <\/strong>– Peter Brathwaite – https:\/\/www.peterbrathwaitebaritone.com\/<\/a><\/p>\n\n\n\n 4 October<\/strong> – Constanza Mendoza- https:\/\/conniemendoza.de\/filter\/projects<\/a><\/p>\n\n\n\n 11 October<\/strong> – Mani Kambo – https:\/\/manikambo.co.uk\/<\/a><\/p>\n\n\n\n Full listings added shortly…<\/p>\n\n\n\n <\/p>\n <\/p>\n<\/p>\n <\/p>\n <\/p>\n Mart\u00edn La Roche (Santiago Chile, 1988) studied Visual Arts at the University of Chile and then in 2015 he completed a postgraduate program at the Jan Van Eyck Academie in Maastricht, the Netherlands. Since then he lives and works between Amsterdam and Santiago. His practice explores the construction and modes of being of collections. In 2017 he initiated the Mus\u00e9e L\u00e9gitime<\/i>, a nomad art institution that was born inside a hat. He is co-founder of Good Neighbour<\/i>, an artist book platform that makes an art in the form of \u2018words\u2019. He is also part of <\/span>To see the inability to see<\/span><\/em>, a collective research project around \u2018archive\u2019 and \u2018anarchive\u2019.<\/span><\/p>\n Jamie Crewe is a beautiful bronze figure with a polished cocotte\u2019s head. They make artworks with video, text, installation, sculpture, drawing, painting, and more. These works think about constriction: the way people are formed by their cultures, environments and relationships, and the things that herniate from them as a consequence.<\/p>\n Jamie\u2019s solo exhibitions include Ashley at LUX Moving Image, London (2020); Solidarity & Love at Humber Street Gallery, Hull (2020); Love & Solidarity at Grand Union, Birmingham (2020); Pastoral Drama at Tramway, Glasgow (2018); Female Executioner at Gasworks, London (2017); and But what was most awful was a girl who was singing at Transmission, Glasgow (2016). <\/p>\n In April 2022 Jamie released False Wife (2022), a website and video commissioned by the University of Edinburgh Art Collection and Dr Chlo\u00eb Kennedy of Edinburgh Law School, which received the EMAF Award for groundbreaking work in media art at the 35th European Media Arts Festival in Osnabr\u00fcck, Germany. She received the Margaret Tait Award in 2019, a Turner Bursary in 2020, and was shortlisted for the Jarman Award in 2022.<\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n Christopher Ulutupu is a contemporary artist of Samoan, Niuean and German descent. Born in 1987, he lives in Te Whanganui-a-Tara, Wellington, New Zealand.<\/p>\n <\/p>\n <\/p>\n Christopher uses the conventions of cinematic storytelling to interrogate the relationships between landscape and indigenous identities. He employs a cast of actors consisting almost entirely of friends and family in his work. These actors sing, dance and perform, often hamming it up for the camera. There\u2019s pop-culture reference abound, from girl-group renditions of Britney Spears to a loose re-enactment of an infamous drug-fuelled photoshoot for a luxury furs catalogue. However, in these references brown bodies take centre stage. The artist is as much interested here in contending with Samoan and Pacific representation as he is centring his personal relationships\u2014in his work a singer is his sister, the keyboardist his partner, one bride is played by his mother.<\/p>\n <\/p>\n <\/p>\n Inspired early in his career by postcard imagery of Pacific Island nations marketed to early 20th Century European audiences, Christopher\u2019s video work challenges an assumed affinity between exotic-nature and exotic-person. Vignettes or scenarios are regularly set against striking landscapes, but equally featured are highly constructed environments. With a background in film and theatre, Christopher understands the dramatic potential of scenery. One video might take place high atop the Southern Alps, while another might feature a green screen waterfall. Both tactics are part of the world-making of film, and this is part of Christopher\u2019s skill as a storyteller. Like any good speculative fiction based beyond reality, he creates an internal logic of storytelling. It\u2019s a logic that challenges assumptions placed on brown bodies and seeks to imagine new alternatives for contemporary indigeneity.<\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n Lyn is an artist from Newcastle who makes work about her interaction with subjects who find themselves or are put, in situations outside most of our lived experience. This has included ‘Porculpa – Cat in Zero Gravity’ (2008), in which she chartered a zero-gravity plane with the Russian Space Agency to film a cat and two mice in weightlessness. This film went viral on YouTube with nearly 2 million hits. It led to her fascination with the human and non-human animal survival instinct and our limited autonomy in moral and legal systems. In ‘The Mexican Mafia and Me’ (2015) Lyn collaborated with a prisoner on San Quentin’s Death Row who was convicted of murder. She exchanged letters and drawings (some of which were sent to him by other women) and Lyn told his story in embroidery, film and animation.<\/p>\n <\/p>\n <\/p>\n Now, Lyn is undertaking research into non-human post-nuclear landscapes as part of an Early Career Researcher Leverhulme Fellowship at Newcastle University. Before joining Newcastle, Lyn was artist in residence at a \u2018Prepper\u2019 site (575 bunkers wide and 3\/4 the size of Manhattan) in South Dakota called Vivos X Point, where their seemingly eccentric action of self-exile became surprisingly prescient as COVID-19 hit.<\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n Anya Hurlbert is Professor of Visual Neuroscience and Dean of Advancement at Newcastle University. Anya\u2019s research interests are focused on the understanding of human vision, especially colour perception and its role in cognition and behaviour; her work includes applications in imaging, lighting, visual art, and human health. Anya speaks and writes widely on colour perception and art and has devised several science-based art exhibitions, including an interactive installation at the National Gallery, London, where she was recently Scientific Trustee and still serves on its Scientific Consultative Group. She is currently Trustee of the Science Museum Group and a member of the Advisory Board of the National Science and Media Museum.<\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n Chin is a British-Singaporean artist working across animation, ceramics, sculpture and installation. She explores our relationship to increasingly digitised environments and devices, presenting technocratic premonitions through fictional archaic objects and ceremonies. Works have explored the extremities of transhumanist ideologies, biohacking, and ecological disaster, and how these exacerbate a haunting of the present by the future. Chin delivers these subjects with injections of humour, combining a variety of materials, audio-visual media, organic and synthetic matter, and animatronics, into bizarre narratives and chaotic configurations.<\/p>\n <\/p>\n <\/p>\n Chin lives and works in Newcastle. She holds a BA in Fine Art from The Slade School of Fine Art (2018). She was featured in Bloomberg New Contemporaries 2018, and has been awarded the Woon Foundation Painting and Sculpture Prize (2018); The Duveen Travel Scholarship, UCL (2018); The Alfred W Rich Prize, Slade (2017); Max Werner Drawing Prize, Slade (2015). <\/p>\n <\/p>\n <\/p>\n Chin has exhibited at galleries and museums including: Humber Street Gallery, Hull, The 8th International Triennial of Art and Ecology, Maribor, Slovenia; BALTIC39, Newcastle; South London Gallery, London; The Art Science Museum, Singapore; DKUK, London, UK; Gallery North, Newcastle; Quench Gallery, Margate; VITRINE, London, Basel, and Digital.<\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n with artists Michele Allen, Jo Coupe and Sabina Sallis<\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n Hinterlands is a group exhibition that invites us to consider our relationship with the land and its ecosystems. The artists showcased explore complex histories, mythologies, legacies and potential futures for its custodianship.<\/p>\n <\/p>\n <\/p>\n The show considers the landscape of the North East, its histories, mythologies and legacies and potential futures for custodianship. New commissions and existing works by artists connected with the area reflect on ideas of rootedness and belonging, human and more-than-human relationships, boundaries, land and time in the era of the climate emergency.<\/p>\n <\/p>\n <\/p>\n The idea of hinterlands \u2013 the land away from the coast or the banks of a river \u2013 is at the core of the exhibition, which explores what lies beyond the visible or known. Considering land and place as a complex layering of relationships, the exhibition will explore these ideas through innovative artistic processes and approaches, including through the possibilities of materials and contexts: geological, biological and social, shaped and hardened by history.<\/p>\n <\/p>\n <\/p>\n (source: Baltic Website) <\/p>\n <\/p>\n <\/p>\n ABOUT the artists<\/u><\/strong><\/p>\n <\/p>\n <\/p>\n Michele Allen<\/strong> is a multimedia artist and researcher based in North East England, her work is often produced over lengthy periods of time working with communities or in response to specific sites and locations. At the core of her practice is a deep concern for the relationships we form with the natural environment and over the past eighteen years she has worked on a series of interconnected projects which explore, place, environment and community. She has a doctorate by photographic practice and regularly presents her artistic and academic work at events across the UK. <\/p>\n <\/p>\n <\/p>\n Jo Coupe<\/strong>\u2019s work is underpinned by a fascination with the interconnected processes of decay and the narrative and metaphorical potential that these processes represent. It seeks to undermine what we consider to be solid and stable and reveal not only invisible forces and unseen patterns but also the fluid and shifting nature of all materials. Her practice is structured around a series of sustained research projects investigating new contexts and sites and culminating in significant works which combine time-based performative elements with sculptural presence and considerations. These manifest as objects, installation, photographs, film, collage sound and performance, which together interrogate what ‘liveness’ might mean within the context of sculpture.<\/p>\n <\/p>\n <\/p>\n Sabina Sallis<\/strong>\u2019 multifaceted approach to creative practice interweaves fact and fiction and includes exhibiting, research, collaboration, curation, foraging, hospitality, somatic practices and pedagogy. Working across multi-mediums and disciplines in a speculative and trans-disciplinary way, Sabina\u2019s work explores art as a sustainable land practice concerned with re-indigenizing local ecosystems through pleasurable entrenchment in the world of senses, engagement with plants, healing and cosmology. As cultural praxis of nurture and care, her artistic practice engages the entanglement between the human mind, knowledge and more-than-human worlds.<\/p>\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2026\/02\/Screenshot-2026-02-09-at-09.24.01-1-761x1024.png\"){kind=spacer}
<\/figure>\n\n\n\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2026\/02\/Screenshot-2026-02-09-at-09.20.43-1-769x1024.png\")
<\/figure>\n\n\n\n
https:\/\/recap.cloud.panopto.eu\/Panopto\/Pages\/Viewer.aspx?id=842aee34-1832-4397-a8cf-b3e700e22bd3<\/a><\/p>\n\n\n\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2026\/02\/Screenshot-2026-02-09-at-09.18.43-1-801x1024.png\"){kind=spacer}
<\/figure>\n\n\n\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2025\/11\/Screenshot-2025-11-25-at-14.32.44-1-757x1024.png\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2025\/11\/Screenshot-2025-11-25-at-14.28.10-794x1024.png\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2025\/11\/Screenshot-2025-11-25-at-14.26.36-779x1024.png\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2025\/11\/Screenshot-2025-11-05-at-08.43.49.png\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2025\/10\/image.png\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2025\/10\/image-10.png\")
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<\/figure>\n\n\n\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2025\/10\/image-11.png\")
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<\/figure>\n\n\n\nVisiting Speaker Programme 2023\/2024<\/h2>\n\n\n\n
![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2024\/09\/MASTER-VISITING-SPEAKER-PROGRAMME-1024x1024.jpg\")
<\/figure>\n\n\n\nSEMESTER 1<\/h3>\n\n\n\n
WATCH BACK (Log in Required):
https:\/\/recap.cloud.panopto.eu\/Panopto\/Pages\/Viewer.aspx?id=aadbcc4b-f018-457d-94f8-b1f50139cd59<\/a><\/p>\n\n\n\n
WATCH BACK (Log in Required):
https:\/\/recap.cloud.panopto.eu\/Panopto\/Pages\/Viewer.aspx?id=c3920aaf-eaaf-4509-8cc8-b20a0139ba27<\/a><\/p>\n\n\n\n
WATCH BACK (Log in Required):
https:\/\/recap.cloud.panopto.eu\/Panopto\/Pages\/Viewer.aspx?id=ee7b5060-2490-4270-9586-b2110139ce9e<\/a><\/p>\n\n\n\n
WATCH BACK (Log in Required):
https:\/\/recap.cloud.panopto.eu\/Panopto\/Pages\/Viewer.aspx?id=13e53484-3b47-4b60-84ae-b22d014a3c22<\/a><\/p>\n\n\n\n
WATCH BACK (Log in Required):
https:\/\/recap.cloud.panopto.eu\/Panopto\/Pages\/Viewer.aspx?id=19e70d0b-da1a-4559-9b05-b234014a2c9d<\/a><\/p>\n\n\n\n
WATCH BACK (Log in Required):
https:\/\/recap.cloud.panopto.eu\/Panopto\/Pages\/Viewer.aspx?id=2820a924-9421-4b40-86fe-b23b014a2aa0<\/a><\/p>\n\n\n\n
WATCH BACK (Log in Required):
https:\/\/recap.cloud.panopto.eu\/Panopto\/Pages\/Viewer.aspx?id=b7b00d1e-a10e-40c5-80b1-b242014a128d<\/a><\/p>\n\n\n\nVisiting Speaker Programme 2023\/2024<\/h2>\n\n\n\n
![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2023\/09\/Visiting-Speaker-Programme-1-768x1024.png\")
<\/figure>\n\n\n\n
The programme is organised by Dr Gayle Meikle to get involved, please drop her a line at gayle.meikle@newcastle.ac.uk<\/a><\/p>\n\n\n\nVisiting Speaker Programme 2022\/2023<\/h2>\n\n\n
\n
<\/h4>\n<\/p>\n
Catch-up on recap<\/h2>\n
Mart\u00edn La Roche<\/span><\/h4>\n
![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2023\/09\/Martin-La-Roche-300x200.jpg\")
<\/h2>\nWatch on recap <\/a>(you will need your university log-in to access)<\/strong><\/h1>\n
Jamie Crewe<\/h4>\n
![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2023\/09\/jamie-300x212.jpg\")
<\/span><\/i><\/h4>\nAn amalgam<\/span><\/i> (2021), courtesy of the artist.<\/span><\/h4>\n
Watch on recap <\/a>(you will need your university log-in to access)<\/strong><\/h1>\n
Christopher Ulutupu<\/h4>\n
![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2023\/03\/Into-the-arms-of-my-coloniser-2016-1024x540.jpg\")
Watch on recap <\/a>(you will need your university log-in to access)<\/h2>\n
\n<\/h4>\n<\/p>\n
Lyn Hagan<\/h4>\n
![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2023\/03\/Skeeter-1024x673.jpeg\")
<\/p>\nWatch on recap <\/a>(you will need your university log-in to access)<\/h2>\n
\n<\/h4>\n<\/p>\n
Prof. Anya Hurlbert<\/h4>\n
![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2023\/03\/anya-1024x475.png\")
<\/p>\nWatch on recap<\/a> (you will need your university log-in to access)<\/h2>\n
\n<\/h4>\n<\/p>\n
Kara chin<\/h4>\n
![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2023\/03\/Kara-Chin-1024x576.jpg\")
<\/p>\nWatch on recap<\/a> (you will need your university log-in to access)<\/h2>\n
\n<\/h4>\n<\/p>\n
Hinterlands’ Panel<\/h4>\n
![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2023\/03\/points-of-reference-2019-1024x995.jpg\")
<\/p>\n