Opportunities

Kaleidoscope 1-2-1’s

Deadline: 7 June 2026

Three people are seated in conversation in a bright, white gallery or studio space. Two women face each other — one with curly grey hair, glasses, and a red jumper beneath a black cardigan, the other smiling warmly and holding a microphone, dressed in an olive green outfit and a large plaid coat. A third person, seen from behind, sits opposite them. Notes and papers are held in hand, a turntable and audio equipment are visible in the background.

We have three slots for EOP members to have an online 1-2-1 with a member of staff from one of the Kaleidoscope partner organisations.

You can apply to meet:

Meaghan Stewart: Communications Producer at The NewBridge Project (Newcastle) on Tuesday 23 June, 11am–12noon.

Clementine Proby: Curator at Spike Island (Bristol) on Monday 29 June, 12–1pm

Jade Foster: Public Programme Curator at Primary in (Nottingham) on Monday 29 June, 2–3pm

Find their full bios below.

How to Apply:

Deadline: Sunday 7 June, 10pm

Submit your expression of interest using this form: https://forms.gle/zz5r5t3481FqGLts9

You will be asked for:

  • Your name, email and phone number.
  • Who you want to have a 1-2-1 with
  • What you want to talk to them about? (150 words max)
  • One link to somewhere we can see your work online – eg a website, social media profile or a portfolio hosted on a platform like google drive.

Bios

Clémentine Proby is a curator and writer. Her research draws on feminist and queer theory to examine the social dynamics of space and their relationship with exhibition-making. Currently Curator at Spike Island, she has curated exhibitions and performances by Olukemi Lijadu, Nancy Lupo and Tohé Commaret. In her previous role at Mudam Luxembourg, she commissioned performances by artists including Bárbara Sánchez-Kane, Motoko Ishibashi, and James Richards & Billy Bultheel, and (co-)curated exhibitions such as Cosima von Bonin: Songs for Gay Dogs, After Laughter Comes Tears: A Performative Exhibition in Four Acts, and the experimental artist residency The Collective Laboratory.

She has co-edited and contributed essays to several exhibition catalogues. Proby has also worked with The British Pavilion at the 59th Venice Biennale, Chisenhale Art Studios, the Louis Vuitton Foundation, and UNESCO. In 2019, she co-founded Maison Touchard, a curatorial platform hosted in domestic spaces.

Meaghan Stewart is an artist who works with photo, video, and text. She is a digital cowboy and meme enthusiast, using these elements both as subject matter and interpretive tools. Her work explores boundaries between memory, materiality, and digital life; she grounds her practice in home-making as world-building. 

Meaghan navigates the layered, often overwhelming, overlap of realities through texture, sound, and collage, challenging images through cutting, splicing, and collaging. She treats memory not as an archive but as a shifting presence that reshapes the spaces she inhabits. Her work embraces the dominance of the image, positioning visual aesthetics as primary tools for storytelling, control, and clarity.

Alongside her creative work, Meaghan brings her perspective to The NewBridge Project as Communications Producer, overseeing all internal and external communications to ensure NewBridge’s programmes engage and inspire diverse audiences. Beyond her role at NewBridge, she works as a freelancer—editing and producing videos, consulting on communications and marketing strategies, and designing websites for artists and small businesses.

Jade Foster is a non-speaking curator, writer and cultural strategist with Functional Neurological Disorder (FND) whose research examines how political, legal, technological and organisational systems shape contemporary cultural practice across the Caribbean and its diasporas. Their work integrates ecosystemic leadership, disability‑justice methodologies, and commissioning‑led exhibition-making, including the multi‑sensory exhibition Queer Texture at Primary in Nottingham. They also curated and commissioned freegrenada.radio, a community‑built digital station supported by the Paul Mellon Centre for Studies in British Art, architected from artist Santiago Mostyn’s Natural History (Radio Free Grenada) digital commission, which explores Caribbean memory, transmission and decolonial sonic practice. Further curated exhibition projects include Small Mercies (2025), Matthew Arthur Williams’ first major institutional presentation, which explored intimacy, memory and queer visuality through photographic and moving‑image practice; Human Life in Motion (2025), a presentation of new work by Maia Ruth Lee, examining migration, embodiment and diasporic material vocabularies; and Imagining Otherwise (2024), co-authored with artists Ashley Holmes, Turner Prize 2024 winner Jasleen Kaur and Jala Wahid.

Foster’s interdisciplinary research practice engages Caribbean, Soviet and post‑Soviet, Central Asian and Latin American material cultures and art histories, with particular attention to Black Atlantic visuality, colonial circulation, and non‑Western systems of knowledge transmission. Their recent paper on José Antonio Aponte’s lost Libro de pinturas—presented at the 2026 Association for Art History Conference—develops the concept of compelled ekphrasis to analyse how legal, archival and colonial systems structure voice, testimony and representation. Additional research includes the visual and material histories of queer and Black feminist Caribbean artists’ moving image (writing about the work of Alberta Whittle and Martina Judah Attille respectively), Afro‑Caribbean revolutionary epistemologies, and the movement of materials, images and ideas across Atlantic and transnational contexts.

Alongside curatorial leadership roles, Foster is currently undertaking the MBA in Cultural and Creative Leadership (Level 7 Senior Leader Apprenticeship) at Teesside University. Their essay, Is Art Criticism Business Leadership? positions art criticism and art historiography as interpretive leadership practices that support organisational strategy, governance and decision‑making—an approach that aligns cultural analysis with contemporary leadership theory, metagovernance and systems thinking.

Their writing has appeared in publications such as Art Monthly, ArtReview, LUX, Camera Austria International and Corridor8, and they are the author of the introductory essay for Maia Ruth Lee’s Bondage Baggage (Radius Books, 2025), a multi‑author artist monograph exploring material memory, diasporic inheritance and the politics of embodiment.