SBC Scratch Residency:

Fragments of a Process

by Linder, Holly Blakey and Maxwell Sterling

with the Hayward Gallery

at Southbank Centre

24 February–28 February 2025
Roberts Institute of Art

In February 2025, we presented a bold new residency in collaboration with the Hayward Gallery and Southbank Centre, bringing together three trailblazing artists — Linder, Holly Blakey and Maxwell Sterling — for five days of collaborative experimentation.

Roberts Institute of Art

The five-day residency was in connection with Linder’s major Hayward Gallery retrospective Danger Came Smiling and unfolded as part of the Southbank Centre Studio programme, which supports innovation from some of the country’s most exciting artists. The time together was an opportunity for these three artists to explore creative risk-taking away from the pressure of production and specific outcomes.

“Every day, waking up and thinking, what are we doing today? And thinking, I have no idea. In a world now so obsessed with production, being seen to produce and being successful, to just let go of all that was a rare privilege.” — Linder

Roberts Institute of Art
Roberts Institute of Art
Roberts Institute of Art

Linder, Holly, and Maxwell were joined by musicians Kenichi Iwasa and Matt Davies, and dancers Sari Mizoe, Luigi Nardone, Folu Odimayo and Violet Savage who were fundamental to the residency process.

Throughout the week, the group’s approach was rooted in improvisation and play, and evolved through unstructured movement and music where gestures, sound and images emerged organically. Shaped by the influence of Linder’s visual practice, the four dancers explored touch and physical interaction through a more instinctual than choreographed process. The three musicians worked with the dancers to create a dialogue between sound and movement that resisted traditional hierarchies — at times the music dictated pace, while at others, dancers’ rhythms led the score which featured drums, double bass, cassette players and electronic samplers.

Roberts Institute of Art
Roberts Institute of Art
Roberts Institute of Art

At the end of the residency, the artists opened their process to the public with a live sharing of progress in Southbank Centre’s Purcell Room. The audience was given a rare insight into improvised moments of intimacy, humour and abstraction that unfolded in real time. A Q&A afterwards also provided context into the ideas explored in the residency, and the spirit of embracing the unknown shared by all collaborators involved.

SBC Scratch Residency: Fragments of a Process was supported and presented by the Roberts Institute of Art, the Hayward Gallery and Southbank Centre.

Linder: Danger Came Smiling, Hayward Gallery, London, 11 February—5 May 2025.

Roberts Institute of Art
Roberts Institute of Art

Linder

Linder is a visual artist and performer renowned for her radical photomontage, photography, and confrontational performance art. A key figure in the punk and post-punk scenes of 1970s and ’80s Manchester, she co-founded the band Ludus in 1978 and gained early recognition for her iconic cover artwork for the Buzzcocks’ Orgasm Addict. This photomontage—combining domestic imagery with eroticism—set the tone for a career dedicated to disrupting representations of gender, desire, and consumer culture.

Linder’s work reconfigures found imagery sourced from pornographic magazines, dance journals, cookery books, and advertisements, creating surreal, provocative juxtapositions. In her compositions, faces disappear behind flowers and household appliances, while scenes of sexual intimacy are obscured by domestic objects, exposing the contradictions embedded in mainstream visual culture. Her performance practice extends these ideas, treating her own body as a site for radical transformation. Influenced by the Berlin Dadaists, particularly Hannah Höch and John Heartfield, as well as Surrealists such as Ithell Colquhoun, Linder continues to interrogate the aesthetics of power, commodification, and desire.

A major figure in feminist and conceptual art, Linder has exhibited internationally for decades. Linderism (2020) toured from Kettle’s Yard, Cambridge, to the Hatton Gallery, Newcastle, while Femme/Objet (2013) was staged at the Musée d’Art Moderne de la Ville de Paris before traveling to Kestner Gesellschaft, Hanover. She has exhibited at Tate, MoMA, and the Irish Museum of Modern Art, and in 2017, she received the Paul Hamlyn Foundation Award. In 2025, she will present a major retrospective at the Hayward Gallery, London.

Through photomontage, performance, and image-making, Linder continues to challenge cultural norms, exposing the tensions between desire, power, and representation in contemporary society.

Roberts Institute of Art

Holly Blakey

Holly Blakey is a choreographer and director whose work spans live performance and film, merging commercial and artistic contexts. Known for her bold, genre-defying movement language, she has collaborated with leading musicians and fashion houses, including Burberry, Dior, Gucci, Rosalia, Harry Styles, and Florence and the Machine. Her choreography for Florence and the Machine’s Delilah earned her a UK MVA award for Best Choreography in a Video, alongside a nomination for Best New Director.

Blakey’s major works include Cowpuncher (2018), a commission to reopen Southbank Centre’s Queen Elizabeth Hall, and its sequel Cowpuncher My Ass (2020), costumed by Vivienne Westwood and scored by Mica Levi. The project ran for five years, culminating in a sold-out Royal Festival Hall performance with the London Contemporary Orchestra. Described by The Guardian as “frenzy without rapture, sexuality without pleasure,” her work pushes dance into visceral, raw, and unpredictable territory.

In 2023, she was commissioned by BalletBoyz for their England on Fire premiere at Sadler’s Wells, joining 40 of the UK’s leading creatives. She continues her long-standing collaboration with musician and partner Gwilym Gold, with whom she has created Phantom (2021), Triptych (2021), and graciechesterbeckyjonnynaomisakeematylor (2021) in collaboration with Jeremy Deller. She is currently working on 2 new live pieces, Phantom and A Wound With Teeth, which premiers in a double bill in both London and Paris April 2025.

Blakey’s work dissects contemporary movement, sexuality, and power dynamics, challenging traditional choreographic structures and redefining the relationship between dance, music, and visual art.

Roberts Institute of Art

Maxwell Sterling

Maxwell Sterling is a composer, producer, and musician whose work explores the fluidity between acoustic and synthesised sound. His music navigates the intersection of tradition and technology, drawing on influences ranging from Gregorian chant to free jazz, and from aleatoric composition to hyper-modern digital processing. His debut album, Hollywood Medieval (2016, Death of Rave), introduced his fascination with the tensions between organic and electronic music, while Turn of Phrase (2021, AD93) expanded on these ideas through richly textured, shape-shifting sonic landscapes.

Sterling’s recent work has focused on film and media composition, bringing an improvisatory approach to narrative sound design. He has scored projects including Aneil Karia and Riz Ahmed’s Hamlet, Oscar Hudson’s Straight Circle, and New Tale’s video game Ygrō, blending freeform jazz, chance-based structures, and melodic motifs into immersive sonic environments. His compositions balance unpredictability with clarity, using abstraction as a tool for storytelling.

An artist deeply invested in the elasticity of sound, he works across disciplines, integrating experimental composition with film, performance, and digital media. His practice continues to evolve, driven by exploration of the boundaries between sound, structure, and perception.

Roberts Institute of Art

Image Credits

Photos by Hazel Gaskin