A Particular Act 


Focusing on the idea of the 'performative' and what it means to create a performative act. Working with many diverse performers, the projects directors collaborate with the performers in order to push the meaning of the performative under a Fine Art setting.



Raphaella Davies 


Raphaella Davies is performance and installation artist based in Liverpool, UK. She recently graduated with a BA Hons in Fine Art from Liverpool John Moores University. Her practice focuses on humours relation to serious topics. Her multidisciplinary practice is naturally satirical and chaotic. When performing this is used to create intimate scenarios within larger audiences. Through this she questions the typical tropes of performance art and explores the performer-audience relationship.

Raphaella also investigates the themes of isolation and community. This stems from the years spent in a small isolated village in Northern England with her family in her more formative years. The idea of belonging and how identities form in individuals through their surroundings is a topic she wishes to explore further, focusing on rural locations and communities that inevitably form through proximity. An example of this type of community is prison. After attending the course Critical Thinking: Art in Prisons led by socially engaged artist Hannah Hull, working in prisons an important element of her practice she is working to develop.

As well as being Poly-Residency Award from LJMU, Raphaella was also awarded the Partnership award with Tate Liverpool, Liverpool Biennial and FACT where she will receive mentorship from the directors Francesco Manacorda, Sally Tallant and Mike Stubbs.

She is currently working for the Liverpool Biennial on the Public Engagement team, collaborating with performers, comedians and writers to host an art and comedy themed performance event responding to the Liverpool Biennial’s exhibition at Cain’s Brewery.


Benjamin Nuttall


Benjamin Nuttall's current practice presents deconstructed installations intended to act as resonating chambers for emotions and memory. The components of his installations are clues that ask to be interrogated and whose logics constantly defer interpretation. Performative actions have played a large roll in Benjamin’s work, mainly where a performance is carried out prior to a body of work being created. Without dictating reaction, Benjamin’s work seeks an environment for deep, subliminal or ambiguous ways of communicating. Confrontational, while withdrawing, this tension is deployed through a mixture of film, language and appropriated items.

Using Format