Anna Kushnerova is a visual artist, filmmaker, choreographer, and somatic educator, and serves as the director of Human Clay Productions CIC. Her academic background includes a BA in Finance from the London School of Economics, an MA in Arts from the Royal Academy of Fine Arts (Antwerp, Belgium), and a Master’s in Holistic Science from Schumacher College (Devon, UK) where her research focused on deep ecology, animism, somatic communication, ecosophy, and ecomythology.
Anna’s interdisciplinary work bridges movement, ritual, and material culture, with a focus on the body as a site of memory, transmission, and relational knowledge. Her practice explores forms of anthropological wandering by adopting a different kind of body, a body as an ecosystem responding, a terrain of multiplicity animate with animals, dust, weather, ghosts and memory; attuned to more-than-human presence, and to perception as a form of inquiry. Grounded in embodied intelligence, her multimodal practice extends from years of work in Butoh, social theatre, and somatic research. She treats artistic creation as a tactile and participatory act of listening, where movement, material, and image converge into hybrid architectures and visual poetics of transformation.
www.annakushnerova.com
Human Clay CIC holds its asset lock with the Barn Owl Trust, a Devon-based conservation charity devoted to the protection of owls, wild habitats, and the fragile balance of life they embody. This affiliation safeguards our non-profit mission and roots our work in a wider ecology of care.
Our connection to the Trust reflects a shared love for owls and animals, whose quiet presence continually reminds us of listening, attention, and the unseen rhythms of the living world. Their spirit of watchfulness and gentle wildness echoes through our practices, guiding us to create with empathy, reciprocity, and respect for all beings.
www.barnowltrust.org.uk
Orjana Rudeloff is a Devon-based curatorial researcher and podcast producer. She has built a professional track record of working with artist women and global majority artists whose practices are situated within the field of decolonial ecology. Her main research interests accrete around contemporary artistic practices that probe the colonial roots of climate emergency and escalating ecological crises. She is interested in the role of contemporary art as a means for challenging established historical narratives and imagining ways of relating to the world rooted in interdependence and connectivity, rather than separation and control.
Having graduated with honours from the University of Manchester in 2021, she has since worked with a number of Southwest based cultural organisations including Southcombe Barn, Cassinelli Mills and Radical Ecology. Her most notable projects include: the development and execution of the Southcombe Sessions - a podcast focused on exploring ecological, place-based artistic activities in rural Devon; involvement in the collaborative group exhibition Invasion Ecology: A Season of Land Art on Dartmoor(Southcombe Barn & Radical Ecology, 2024); and exhibition assistance and podcast production for Cassinelli Mills’ ongoing curatorial research project Pamela Coleman Smith: Resonances of Being.
She is currently undertaking an MPhil in History of Art at the University of Bristol, where she focuses on researching the work of contemporary photographer Ingrid Pollard. For her proposed dissertation project Seeds of Invisibility: Interrogating the Intersections of Ecology and Colonialism in Ingrid Pollard's ‘Three Drops of Blood’, Orjana was awarded the MPhil New Narratives studentship from the Paul Mellon Centre.
At Human Clay Production CIC, Orjana supports the organizational growth in the role of Curatorial Research and Development Associate, working across curatorial research, development and creative strategy.
Pierre-Antoine Vettorello is a transdisciplinary Afropean researcher-artist whose work spans textile craft, diasporic archives, and decolonial fashion studies. Currently a Visiting Doctoral Student at Wolfson College, University of Oxford, he explores how dressed bodies move through colonial and postcolonial histories, tracing the resistant gestures of Senegalese women in mid-20th-century Paris through fabric, image, and embodied memory. His research has been developed through international residencies including Villa Ndar (Saint-Louis, Senegal), Cité internationale des Arts (Paris, 2022).
Within Human Clay CIC, Pierre-Antoine contributes as an Associate Curator and Research Advisor in Material Memory & Craft Ecologies. His insights into the politics of dress, embodiment, and diasporic knowledge support the development of our research-led processes, particularly where textile practices, ecological sensibilities, and embodied histories intersect. He offers consultation and mentorship around body-politics, decolonial aesthetics, and textile resistance, enriching the conceptual and material dimensions of our performance, film, and community-rooted work.
His presence broadens Human Clay’s dialogue with global craft lineages and deepens our commitment to art as a space of cultural transmission, critical reflection, and ecological imagination.
www.pierreantoinev.com
Keiko Yamamoto is an experimental musician, vocal artist, and multimodal performer whose work moves across sound, voice, drawing, paper, and movement. She shapes delicate sonic worlds animated by breath, improvisation, and the poetry of everyday objects.
As co-founder of Café OTO - London’s central hub for experimental and improvised music, Keiko has played an influential role in nurturing an international community devoted to exploratory, open-ended sound practices. Her long-running project O YAMA O, created with Rie Nakajima (and recently joined by Marie Roux and Billy Steiger), explores the domestic, the folk-imaginal, and the quietly sublime, forming intimate atmospheric compositions through small gestures, tactile materials, and improvised textures.
Within Human Clay CIC, Keiko joins as Associate Artist (Acoustic Ecologies & Experimental Voice), contributing a vital strand of research into how sound, listening, and vocal presence can shape our artistic processes. Her practice supports the development of acoustic ecologies across our films, performances, and workshops, bringing attention to the subtle relational fields created through breath, resonance, and everyday human and non-human sonic environments. Keiko’s approach deepens our collective exploration of listening as relational practice, ecological sensitivity, and embodied inquiry.
Artist Page: www.lydgalleriet.no/artist/keiko-yamamoto
O YAMA O: manarecs.bandcamp.com/album/o-yama-o
Café OTO: www.cafeoto.co.uk/events
Minou Tsambika Polleros is an interdisciplinary movement artist, choreographer, and visual artist whose work is grounded in ecosomatic arts and a curatorial practice rooted in ecological, embodied, and socially engaged perspectives. With a BA (Hons) in Choreography and Visual Art Practices (Dartington College of Arts), an MA in Social Sculpture (Oxford Brookes University), and a certificate in Curatorial Practice from the Node Center in Berlin, her practice bridges research, artistic creation, and curatorial inquiry.
Her work moves across performance, visual art, photography, and writing, with the moving body as the central site of enquiry. Through poetic, process-based forms, she creates movement scores and connective artworks that invite embodied reflection, relational awareness, and sensorial engagement. Her curatorial approach mirrors these concerns, foregrounding ecosomatic methodologies, environmental responsiveness, and socially engaged practices that explore how embodied presence can inform ecological and political transformation.
Minou’s projects span galleries, landscapes, and community contexts, evoking visceral understandings of interdependence and the urgencies of the present moment. Alongside her artistic and curatorial work, she is active as a dance producer, project manager, and educator. Since 2017, she has been Co-Director of art.earth, contributing to its internationally recognised dialogue between art and the natural world. She is also a member of the Institute of the Study of Somatic Communication (ISSC), acting as regional director, connecting ISSC research groups based in Europe, she is co-leading the ISSC co-lab for dance research hosted by University of Applied Arts in Vienna.
Within Human Clay CIC, Minou joins as Associate Artist (Movement & Social Sculpture). She contributes ecosomatic and curatorial insight, movement research, and conceptual grounding in movement philosophy across our projects. Her role includes advising on somatic intelligence, ecological attunement, and socially responsive practice, as well as participating in creative labs for new performances and films, deepening Human Clay’s commitment to embodied ecologies, collective imagination, and art as relational world-making.
www.minoutsambika.com
Raúl Bartolomé is a cinematographer and photographer. With over 20 years of experience in documentary filmmaking and visual storytelling, Raúl’s work focuses on the intersection of social impact, cultural heritage, and artistic expression. He has worked with acclaimed director Carlos Saura (Renzo Piano: An Architect for Santander), RTVE (Suicide: The Invisible Pain), and NGOs such as Greenpeace, Interred, and Asispa.
His recent work includes the award-winning Take Me Where There’s Life (2022), a film on art therapy and Alzheimer’s, and VOCES, a dance piece addressing obstetric violence. His cinematographic expertise is complemented by a background in therapy, which informs his sensitive and participatory approach.
www.humanclaycic.com/social-documentories