Image credits

Kimberley Foster

In parallel with my role as Senior Lecturer in BA (Hons) Fine Art, I have a successful practice as one half of the artistic partnership ‘hedsor’. My teaching and learning within Higher Education both draws from, and informs my practice in a continuous cycle of enquiry. My practice resonates with a general gallery / museum culture-shift that is collaborative, co-constructive, dialogic, inter-disciplinary and inquiry-based.

It involves the creation of hybridized objects that are made to work as interpretative devices with specific art collections and exhibitions, but are versatile and ambiguous enough in form to be used without their contexts. The objects have dual functions – they meet aesthetic conventions as art objects, whilst offering use as catalysts to facilitate, or stimulate interpretation in a plethora of settings. As products, and as emblems of a creative process of enquiry they do not offer specific answers. Using them enables conversations about studio processes and authorship, enables discussions about aesthetic values and brings into active consideration the contemporary issues of participation . They are also initiate discussions of a contextual nature because our objects build on a lineage of object making that includes, ‘ready-mades’, Surrealist objects, Fluxus boxes and Neo-Geo objects.

  • July 2013: Creative Consultancy Science Museum London
  • May – October 2013: Object Dialogue Box 10 commissioned by Cheshire Council
  • December 2012: ‘Mouseion’ Symposium for PHD School of Museum Studies Staff, University of Leicester
  • September 2012 – Feb 2013: ‘Mouseion’ Exhibition. School of Museum Studies. University of Leicester
  • September 2012: Presented paper with Manchester Art Gallery. ‘Worlds Together’ conference Tate Modern. ‘Object Dialogue Boxes – the unexpected and unfamiliar as important ingredients for creative learning in galleries’
  • September 2012: Object Dialogue Box 9 commissioned by the ‘Museum of London’
  • July 2012: Article: ‘The importance of the unfamiliar and unexpected in creative teaching, interpretation, and learning’ in CREST/GuildHE publication What is research-led teaching? Multi-disaplinary perspectives
  • March 2012: ‘Creative Conversations’ – consultancy Imperial War Museum – London
  • January 2012: Exhibiting 2 sound pieces for ‘Arts Birthday Wales’. Klang Canteen, Elysium Gallery Swansea
  • September 2011: hedsor designed and fabricated a conservation-grade box for Mary Greg collection at Manchester Art Gallery
  • April 2011: Object Dialogue Box 8 – Turner Contemporary. Margate
  • 2010: Consultation ‘Mary Greg’ collection at Manchester Art Gallery
  • November 2010: Object Dialogue Box 7 – Commissioned by Imperial War Museum
  • November 2010: ‘Object Dialogues’. A Symposium linked to the hedsor exhibition at SCVA, creative interpretation and dialogic enquiry
  • September 2010- Dec. 2010: ‘Object Dialogues’. Exhibition and retrospective summary of hedsor work up to 2010 link Gallery Sainsbury Centre for the Visual Arts
  • 2009: ‘Creativity and the Subconscious Mind’. The use of Object Dialogue Boxes as devices to encourage non-literal interpretations of exhibitions. Linked to the ‘Subversive Spaces’ exhibition. Sainsbury Centre for Visual Arts
  • 2009: Manchester Museum – Interpretation consultants
  • 2008-9: Object Dialogue Box 6 commissioned by Manchester Art Gallery created in line with the ‘Angels of Anarchy’ Surrealist’s womens art exhibition
  • 2008-9: Creative consultant for the development of interpretative resources for the proposed re-display of 17th Century painting collection.Graves Art Gallery Sheffield
  • 2007: Object Dialogue Box 5 commissioned by Harewood House, Leeds
  • 2006: Object Dialogue Box 4. This box was commissioned by Sheffield Galleries and Museums Trust in line with V&A exhibition ‘Palace & Mosque’
Kimberley Foster

– Kimberley Foster


– Turner Contemporary Object Dialogue Box (detail)


– Museum of London Object Dialogue Box (detail)


– Mouseion