medway collective
We are an arts collective based in Medway, Kent.
From our studio in Chatham, we develop work and use the space to connect with others through collaboration, workshops, and small-scale public events.
events
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artists
Kat Pegler
Kat Pegler is an interdisciplinary artist, nature researcher, musician + poet. She is co-founder of creative sustainability organisation Kerbside Collective, and award-winning neurodivergent platform Leo Reader. Her works have been showcased internationally and intertwine art with science and innovation to create immersive experiences that connect people to their surroundings in new ways. She is currently artist-in-residence for Hydrogen Research at Brunel and is creating a new spatial audio experience that goes on tour this year.
Growing up in Medway is a key source of inspiration that emanates throughout her work. She has produced many creative projects across Medway including the Ivor Novello nominated Estuary Sound Ark with the Radiophonic Institute, Make Waves for Ideas Test and BLINK! With Emergency Exit Arts. You'll often find her on the River Medway mudlarking or harmonising with crows.
Luke Fielding
Luke Fielding is a sound artist, composer and music producer working across multichannel acousmatic composition, installation, and popular music. Originally from Bradford and now based in Rochester, Kent, he brings a rigorous approach to sound, shaped by a commitment to innovation through exploratory practice, open-source creative tools, and a strong belief in the power of collaboration. He has released work through Columbia Records and Sony ATV, and his freelance practice is motivated by an ongoing investigation into sound as material—how it can be shaped and placed to influence perception, emotion, and enable new forms of connection and understanding.
Luke holds undergraduate and postgraduate degrees in Electronic Music, Computing & Technology, and Sonic Arts from Goldsmiths, University of London. In addition to his creative work, he manages events logistics and operations across Europe and offers private tuition in Ableton Live.
Frances Malthouse
Frances studied at the University of Arts, London with a degree in Illustration and Graphic Design. She currently facilitates the production of sculptures for world renowned artists such as Julian Opie and Michael Craig-Martin for a fabrication company based in London and Falmouth, whilst living with her family in Rochester, Medway. Frances practices weaving, inspired by the historical dwellings and nature. Currently she is developing an archive of stained glass from in and around the South East of England, hoping this will be an inspiration and reference point for people in the future.
Darrell Hawkins
Darrell Hawkins attended the Kent Institute of Art and Design (UCA) and graduated from Brighton University of Art. He lives and works in Medway, Kent. Darrell’s art has been exhibited at Saatchi Gallery, Rochester Gallery and Strange Cargo. He has also made public artwork. Medway council commissioned Darrell to produce a 600x300cm digital painting printed on aluminium for the 'Welcome' project, currently on display in Strood town centre.
Darrell makes music under the moniker ‘Sonic Hawkins’ and is signed to Accidental Records. He also plays bass for Medway based band The Sleepers. He previously played guitar for London post-punk band Wild Palms, releasing two albums with One Little Independent Records.
Will Pegler
After studying product design at Brunel University, Will has honed his making skills in a range of workshops across the country. Currently involved in the manufacture of stages and art installations for Lucid Creates. He splits his time between building music festivals around the world and making music under various monikers at home in Medway. Will is always looking for new and creative ways to combine design and music, seeking out collaborations with other local artists and championing the strong creative undercurrent of the Medway towns.
Jack Coleman
Jack is a non-binary freelancer and cultural place maker from Medway, currently based in Canterbury and working across East Kent- creating inlets for left-field, alternative and counter-cultural ideas, acts, and people.
Having studied Social Anthropology at the University of Manchester, with a topical focus on Englishness and Digital Culture, Jack has a uniquely dynamic and reflexive approach to culture and place-making, fuelled by a fervent curiosity about and love of people.
Currently Jack produces DIY arts and music events under 'The Big Cheese Co.' (OPEN > PROJECT, Kicking Against Nothing, Kentish Alternative) and is a director of TONETIC CIC, which produces Tonetic Records, a youth-lead & non-profit record label and emerging artist programme, based in Margate.
George Craig
George William Craig is a Multi-Instrumentalist, Songwriter, Photographer and Graphic Designer born in Warrington, England. His main creative output consists of numerous local bands in the South East area, often with experimental and improvisational aspects incorporated into the writing process.
George is also an avid Photographer, whose body of work largely consists of experimental, landscape and film photography which often explores ideas of the trans-mundane, the surreal and the whimsical. He uses film photography also as a functional basis for his graphic design work, a poster-making charity organisation that designs free posters and album artwork for local artists, musicians and their events.
Wolf Howard
Wolf Howard was born in 1968 in Strood, Medway.
Aged 16 he crossed the bridge into Rochester, falling in with a group of local artists and musicians.
Since the he has drummed with bands such as The James Taylor Quartet, The Solarflares and Billy Childish and the Buff Medways.
In 1999 he became a founding member of the Stuckist art movement, exhibiting in galleries around the world, including the Walker gallery in Liverpool.
Wolf has had 5 or so books of poetry published.
Charlie Oscar Patterson
Charlie Oscar Patterson simultaneously produces multiple bodies of work that embrace the history of modernist painting, they are a continuation and combination of minimalism and abstraction that merge sculpture with painting.
Downplaying the decorative qualities of the canvas while at the same time playing on its physicality, Patterson leads us on a journey to discover new perceptions of space and light.
While colour is one of Patterson's foremost visual markers, each artwork plays a "sound" through rhythmic intervention, and their movement through time is captured by the shifting light. In Patterson's work, light becomes a conduit, a vehicle for transporting colour from the smooth surface of the object to our discerning eye. His deep fascination with colour is first and foremost an exploration of light since light is colour. Building up many layers of dense oil paint, Patterson cleverly focuses on the use of a single colour tone to emphasise the work's surface as well as its highlights and shadow - the canvas brought to life as you move around the artwork and the light changes. This focused combination of colour and shape speaks to his concern with emphasizing the physical presence of the artwork itself, rather than an expression of the artist's voice – his monochrome pieces are a great example of this.
In Patterson's work light completes the artwork and at the same time transforms it. One can better understand Patterson's practice by perceiving light more like sound. In the same way you make an instrument to produce a specific sound, Patterson's artworks are instruments that play the light. Describing his artistic process, Patterson reflects that, "building the frame is like writing the score and painting is like playing for the first time." Like the keys of a piano, the three-dimensional extensions of the canvas act as tools for Patterson to play with light, offering infinite possibilities and variations of shadow and tonality. Composing his artworks like a musical score, Patterson's architectures become instruments that can be heard playing solid rhythms of colour to the beat of light and shadow. Patterson's work is experiential. Through his gesture the work becomes an object, an installation – it acquires a certain presence that involves the spectator as they share the same space.