Honor Eastly is an award-winning artist and mental health advocate whose work challenges stigma and reimagines how we talk about psychological distress. Her acclaimed ABC podcast No Feeling Is Final—an experimental memoir about her own experiences of chronic suicidality—was praised by The New York Times, The Atlantic, and TIME, and named an Apple Podcasts “Series Essential.” She later adapted it into a sold-out multimedia performance for The Big Anxiety Festival. Honor co-founded The Big Feels Club, which has reached over one million people, helping individuals and workplaces better support people with long-term mental health conditions. She won the Australian Mental Health Prize for her advocacy and creative work.

A multi-disciplinary Palestinian-Australian artist whose practice spans music, cultural education, translation, community work, and disability advocacy. He is founder of the Tarab Ensemble, dedicated to the rich tradition of instrumental Arabic music. Known for his deep community engagement and mentorship of young artists, his practice sits at the intersection of culture, disability and identity. His work is grounded in collaboration and cultural exchange, bringing together artists and audiences across different musical traditions and lived experiences.

Patrick Carter is a Noongar man and interdisciplinary artist who combines performance, movement, video, sound and painting to create his stories and songs. Family is a driving theme, and his work features many motifs drawn from his Noongar culture. As a First Nations person with disability, Carter has faced many challenges to access his culture and learning. He has spent significant periods in institutional care and has experienced the systemic barriers to cultural practice that are shared by First Nations people across Australia.

Riana Head-Toussaint is an interdisciplinary crip/disabled artist, DJ, and curator of Afro-Caribbean heritage. Her work lies at the intersection of creative expression, activism, cultural exchange and disability justice.

Her practice spans choreography, video/film, sound design, writing, and installation, challenging entrenched structures and advocating for social change. Riana’s work has appeared in carparks, post-industrial ruins, galleries, theatres and online, supported by institutions including Human Rights Watch, AGNSW, Opera House, Buxton Contemporary, Carriageworks and the British Council. She is the founder of CRIP RAVE THEORY, a club night outside the club drawing on intersectional disabled knowledge to create more accessible rave/party spaces.