As I approach yet another February 14th single, and begrudgingly try to write a hinge prompt that carefully balances my intelligence and subtle sense of humour, I find myself reflecting on why I’m finding it so hard to fall in love.

Although you may be unfamiliar with the term ‘photomontage’, you’ve likely come across it, or unknowingly participated in creating one. The term ‘collage’ has a much wider reach — and, though the two art forms are related, photomontage refers to a collage that solely uses images, as opposed to a wider ensemble of mixed materials.

As we head into a new year, we want to take a minute to look back on everything we achieved in 2025.

This blog is part of a series supported by the Go See Share Fund, a Creative Scotland initiative that enables artists and collectives to travel, connect and share learning across borders. Through this research, I’m exploring how small, community-driven arts organisations like Flos Collective can develop financially sustainable models while staying true to values of accessibility, inclusion and care.

This blog is part of a series supported by the Go See Share Fund, a Creative Scotland initiative that enables artists and collectives to travel, connect and share learning across borders. Through this research, I’m exploring how small, community-driven arts organisations like Flos Collective can develop financially sustainable models while staying true to values of accessibility, inclusion and care.

This blog is part of a series supported by the Go See Share Fund, a Creative Scotland initiative that enables artists and collectives to travel, connect and share learning across borders. Through this research, I’m exploring how small, community-driven arts organisations like Flos Collective can develop financially sustainable models while staying true to values of accessibility, inclusion and care.

This blog is part of a series supported by the Go See Share Fund, a Creative Scotland initiative that enables artists and collectives to travel, connect and share learning across borders. Through this research, I’m exploring how small, community-driven arts organisations like Flos Collective can develop financially sustainable models while staying true to values of accessibility, inclusion and care.

This blog is part of a series supported by the Go See Share Fund, a Creative Scotland initiative that enables artists and collectives to travel, connect and share learning across borders. Through this research, I’m exploring how small, community-driven arts organisations like Flos Collective can develop financially sustainable models while staying true to values of accessibility, inclusion and care.

This blog is part of a series supported by the Go See Share Fund, a Creative Scotland initiative that enables artists and collectives to travel, connect and share learning across borders. Through this research, I’m exploring how small, community-driven arts organisations like Flos Collective can develop financially sustainable models while staying true to values of accessibility, inclusion and care.

We can’t believe it… in less than a week we’ll be opening the doors to SPLINTR Festival - our first ever festival as Flos Collective CIC.

Here’s the truth: running a grassroots collective isn’t an easy ride. There’s no big pot of money, no corporate sponsor footing the bill. It’s us - juggling jobs, scraping by and putting every bit of energy we have into keeping Flos alive.

Running a grassroots arts collective is basically one long game of dress-up. Except instead of fun costumes, it’s metaphorical hats - and we seem to collect new ones every week.

We're opening SPLINTR Festival with an Open Mic - and you're invited to take the stage.

In 1971, feminist art historian Linda Nochlin posed the rather provocative question, ‘Why Have There Been No Great Woman Artists?’. The term ‘Great’ is crucial in both the essay’s title and contents, as Nochlin was not outright denying the existence of women artists, but instead questioning why, in the history of art, women artists hadn’t been hailed as ‘Great’ in much the same way as their male counterparts. Throughout the essay, the term ‘Great’ slides into synonymity with

We Made It: A Huge Thank You for Making Flos Festival Possible! 🎉

As summer falls and the shift of Autumn’s approach begins, our bodies grow stiffer with the decline of outside’s temperature. We hold things a bit closer; we wrap ourselves up a bit tighter; we walk a bit faster and we don’t stop to relax and notice like our summer selves once did.   Last weekend I took part in ‘Collective Rhythms’ led by the incredible Nora Aubrey. It made me strongly aware of the shift my being was going through and embrace a deeper understanding and care

Over the weekend of August 15th, 2024, I went to We Out Here Festival (WOH) . Having grown up attending festivals across the UK since I was 8, this one felt refreshingly different for a commercial festival. It wasn’t just another lineup of artists or a space for big commercial acts; it was a homegrown celebration of music and culture that felt linked to the UK arts and music scene. 'We Out Here Festival, inspired by the 2018 Brownswood Recordings compilation of the same name,

Next Saturday 15th September, Nora will be leading a dance and movement workshop, 'Collective Rhythms'. Nora (she/they) is an emerging multidisciplinary artist whose inconsistent practice dabbles in movement, crafts and visual arts. Drawn to themes of belonging, connection, healing and renewal, Nora views art & creativity as portals to bridge fragmented realities and foster communal care. Her practice currently explores embodied narratives, recurring instances and conversatio

Pippa Blundell is crowdfunding to raise money for her debut album!

I was born in Kyiv, Ukraine, a city that instilled in me a deep appreciation for culture, art, and storytelling. Currently, I am based in the UK, where I continue to develop my career as a screenwriter and director. Your film employs a distinct visual style and storytelling technique. How do you balance artistic innovation with effectively communicating your message to audiences? When I work on my films, I follow a mental structure that guides every stage of production. I beg