Director

Tommy Rowlands



Tommy Rowlands is a London-based writer and artist working across fiction, essay, autotheory, and material practice. He holds a London Writers Award for Literary Fiction, is a Pushcart Prize nominee, and is represented by OWN IT! Literary Agency.


He is an associate editor at Poetries in English and has been commissioned by

A Rabbit's Foot magazine.


He is a practice-led PhD researcher at the Royal College of Art, where his research examines abjection, narrative coherence, and the fragment as a mode of dis/embodied making.


His practice is concerned with how memory, the body, and experience resist coherent narrative—and what form must do when language reaches its limit. Studio is directed from within that practice.


Studio is not a course in technique. It is a sustained engagement with the material conditions of writing: what a piece of work is made of, what it is avoiding, and what it might become under pressure.


Writers who come to Studio work alongside a director whose own practice is live, institutionally grounded, and in continuous development.

That proximity—to a working practice, not a completed one—is what Studio offers.



Studio is not a programme. It is a change in practice.




Director

Tommy Rowlands

Tommy Rowlands is a London-based writer and artist working across fiction, essay, autotheory, and material practice. He holds a London Writers Award for Literary Fiction, is a Pushcart Prize nominee, and is represented by OWN IT! Literary Agency.


He is an associate editor at Poetries in English and has been commissioned by A Rabbit's Foot magazine.


He is a practice-led PhD researcher at the Royal College of Art, where his research examines abjection, narrative coherence, and the fragment as a mode of dis/embodied making.


His practice is concerned with how memory, the body, and experience resist coherent narrative—and what form must do when language reaches its limit. Studio is directed from within that practice.


Studio is not a course in technique. It is a sustained engagement with the material conditions of writing: what a piece of work is made of, what it is avoiding, and what it might become under pressure.


Writers who come to Studio work alongside a director whose own practice is live, institutionally grounded, and in continuous development.

That proximity—to a working practice, not a completed one—is what Studio offers.



Studio is not a programme. It is a change in practice.