Bradford Sound Women Network

SoundBleed | second iteration, 17th July 2026

PERFORMERS
Loomeweight, are operatic duo Patricia Auchterlonie & Hestor Dart who build rhythmic, percussive beats out of the repetitive shuttle or treadle of weaving. They blend recorded oral history with vocals that emulate and expand upon traditional worker song.

Rachael Dennis combines live choreography and improvised movement in a mirrored disco-ball sound suit, creating a symbiotic call-and-response performance that unfolds through live sound and musical experimentation.

Costume design: Kinetic Disco Moth

Experimental accordionist Valerie Barr combines improvisation and extended accordion techniques to create a structural, responsive performance that moves between composition, sound art and live collaboration.

EXHIBITORS
Claire Kearns

Salt

2026

Claire Kearns transforms a personal archive into a sculptural form that mourns the fragility of home and belonging from within a paper sound-wendyhouse made from thirty years of pulped text, documents and legal correspondence, where fragments of voice and sound emerge as a keening for loss, grief and memory.

Delilah Sykes

On Voids

2022

Delilah Sykes moving-image archive of silence and 'nothings' are documented as a way to examine deep human truths, presenting an intimate world that explores presence and non-presence as a way to understand love, loss, and the often amusing nature of our world.

Setareh Mofidi

Untitled

2026

Setarah Mofidi's soundscape of composite field recordings from Bridlington and the extended East Yorkshire coast

📍 Friday 17th July. 7pm.
Gallery II, University of Bradford Chesham Building.

https://www.eventbrite.co.uk/e/1991737909704?aff=oddtdtcreator

Daphne Oram Scratch Orchestra - general vibe was for us to do more of these

Any post-grad emerging/semi-professional female & marginalised gender conceptual live art performance artists / choreographers / dancers who dress up as weird organisms like eg Edwina Ashton's lobsters (I'm obsessed!) and are working with things like:

SURREAL INTERACTION • OBJECT-LED PERFORMANCE • WEARABLE SCULPTURE • LIVE INSTALLATION • HANDMADE COSTUME • CREATURE LOGIC • STRANGE BODY-OBJECT ENCOUNTERS • IMMERSIVE ORGANISM WORLDS • PARTICIPATORY PERFORMANCE • AWKWARD SYSTEMS • DADA / AVANT-GARDE EXPERIMENTATION • ABSURDISM • DIY • GRASS-ROOTS

Who are already working sonically or open to sounding crossover, and would be interested in performing with us? DM if coy

Stitch & Glitch are BSWN workshops. and are FREE to attend

They are either casual drop-in or structured make-and-do, and they are designed to encourage more female and marginalised gender people into engaging with sound creatively.

In 2026 we are running 5 Stitch & Glitch sessions and they are at the 1in12 Club in Bradford on a Saturday afternoon. (If a session falls on the first Saturday of the month, times run 1 hour earlier)

Stitch & Glitch 2026 Dates:
14th Feb, 1pm (library cafe)
9th May, 1pm (library cafe)
4th July, 12pm (members bar)
8th Aug, 1pm (library cafe)
5th Sept, 12pm (members bar)

SoundBleed 2026 PHOTO CREDIT: Jannat Iqbal

Selection of images from soundbleed. PHOTO CREDIT: Jannat Iqbal

Sounds of Britain, 1978 and 2008
2026
Raspberry pi, headphones, photo book

17th April @ Gallery II, University of Bradford. 7pm

Tallulah Lilburn-Quick is an emerging artist based between Bradford and South London. Currently studying Sound Arts at the London College of Communication, she began working with sound through volunteering at BCB Radio. Lilburn-Quick uses DIY electronics and circuit building as a way to facilitate interactive installations, manifesting in touch-based interactive works that bridge analogue aesthetic with the post-modern. Her collaborative installation projects invite the public to beome sonic agitators through interative sculptural and site-speific forms.

This work contains some strong and discriminatory language due to the nature of the work and its use of archive material, audience discretion is advised.

There are three decades between the two points of comparison presented in this work. Archival recordings of Britain positions time as an opportunity to reflect on individual and collective actions that shape society, what we have learned from our mistakes and what we keep repeating. Situating life, culture, and politics as cyclical, what can we learn through comparison? The sonic documentary is accompanied by a zine presenting the archive in an alternative format, and a list of the material used within the work.

Amity
2026
TV, hearing aids, glass bottles, motor, light bulbs

17th April @ Gallery II, University of Bradford. 7pm

Ryoko Akama is a Japanese sound artist, composer, and performer known for her minimalistic approach that emphasises subtle nuances in sound that magnify silences . Her work often crosses the boundaries of sound, visual art, and performance, inviting the audience to listen deeply and reflect on the ephemeral nature of sound. Akama's art is characterised by quiet, intimate compositions that embody 'almost nothing' aesthetics, employing small and fragile objects such as paper balloons and glass bottles.

After graduating sound engineering at the SAE Institute in London, Akama worked as a sound engineer at Mark Angelo recording studio. This allowed her access to electronic devices and equipment that fed her intrigue in using sound as creative practice developed during her studies. She took an apprenticeship with Nagauta., and has collaborated with a diverse range of artists including the late Éliane Radigue.. Akama's contributions to the arts have been recognised with a PhD in composition from Huddersfield University, where she was an active performer with Edges Ensemble. Akama continues to be active as a curator and performer.

The Abyssal Glow
2018/2026
Macro video, micro soundscape, electronics, hydraulics, air bubbles, tank, reflective film, UV liquid, light

17th April @ Gallery II, University of Bradford. 7pm

Cat Scott MRSS is an international contemporary artist, living and working in Bradford, United Kingdom. Elected in 2025 as a member of the Royal British Society of Sculptors, Scott is currently supported using public funding from The Cultural Institute (University of Leeds) and the City of Bradford Metropolitan District Council. Scott is deeply curious and invested in research as a key part of their practice, creating experimental, sensory fluid sculptures, installations and public interventions, from the small to architectural scale, using wave phenomena (light/sound/liquids/gases) as regenerative materials, often through cross-sector collaborations.

Her work explores the wonder of fluids in motion and the hidden fluid systems in the natural/built environment, mixed with personal experiences (womanhood/neurodiversity/identity), touring to diverse public spaces (galleries/biennials/sculpture parks/light festivals/public spaces) - ensuring everyone can experience it.

The Abyssal Glow is a kineticc fluid sulpture, created from a series of experiments studying the growth of micro bubbles. Enter an intimate, impossible microcosm that we, as humans, cannot physically experience ourselves. As you float through a universe of bubbles, your perception of the space you find yourself in becomes deceiving in scale. The cosmic beauty of these micro hyperreal happenings enable you to experience the wonders of life at a different scale, and question the boundary between the real and the unreal.

Photo Credit: Signal Film & Media

Gilank
Durational improv

17th April @ Gallery II, University of Bradford. 7pm

Gilank is a duo of Bradford-based experimental electro-acoustic musicians, Alice Gilmour and shi Blank. They build sound worlds using acoustic instruments (violin, flute, percussion, voice), electric (midi controllers, synths, keyboards, contact mics), and loop and effects pedals.