Working across sculpture, installation, performance, and publishing, Joanne Tatham and Tom O’Sullivan (b. 1971/1967, West Yorkshire/Norfolk) have collaborated since 1995. Together they have developed a distinctive visual language that is rich in content and attitude. The artists’ are interested in sculpture as a mode or form with specific histories and conventions of use, which can be reframed or repositioned as a means to critique art’s values and behaviours.

The duo emerged from an important generation of Glasgow–based artists who brought international attention to Scotland’s contemporary art scene, and have staged significant commissions at the Baltic Centre for Contemporary Art (2018); Middlesbrough Institute of Modern Art (2017) and Tramway, Glasgow (2014; 2010; 2001). In 2005 they represented Scotland at the 51st Venice Biennale. Tatham and O’Sullivan are represented by The Modern Institute / Toby Webster Ltd (Glasgow).

Fiona Jardine (b. 1970, Galashiels, Scotland) is an interdisciplinary artist, writer and academic based in Glasgow.

Jardine works collaboratively with curators, designers and community groups on research-led projects involving specific histories, collections and archives. In 2019, Jardine designed a trade union banner for ScotPep (a Scottish charity promoting sex-worker’s rights) with the film-maker Petra Bauer and Collective, Edinburgh. She also works with curators and designers Panel, Maeve Redmond and Sophie Dyer, as a co-publisher of 'The Persistence of Type', a sporadic broadsheet devoted to creative interpretations of Scotland’s advertising and typographic histories. Her work has been the subject of solo commissions at Sorcha Dallas, Glasgow (2007); and the ICA, London (2008). She has also featured in group exhibitions at The Centre for Contemporary Arts, Glasgow (2021); Tramway, Glasgow (2015); Glasgow International (2014); Dundee Contemporary Arts (2009); and Transmission, Glasgow (2006).

Jardine currently teaches at The Glasgow School of Design as Lecturer in Design History & Theory. Her PhD (2008–2013) analysed the changing construction of artists’ signatures in their material forms, with specific reference to Marcel Duchamp’s readymade, 'Fountain' (1917).