I have certainly been keeping busy! I was so happy to have been asked to write the gallery essay for Kate Walters’ wildly intense show Love Paintings for Arusha Gallery in Edinburgh, running from June 24 to July 24. Her work is a deep dive into the psyche and the ecstasy of divine love.

I am also exceptionally excited to have been asked to contribute to Issue 6 of the Burlington Contemporary Journal with Communist Witches and Cyborg Magic: The Emergence of Queer, Feminist, Esoteric Futurism. At a time when positive visions of the future are in short supply, it was a delight to consider artists who are pushing back on antiquated antimodernist paradigms to rethink infinite futures that we can create together.

Still from The Martian Word for World is Mother, by Alice Bucknell. 2022

I contributed to two amazing new projects with Tate being released in May. First, I was asked to write the introduction to Bonsoir, an unusual collage text that Ithell Colquhoun compiled in 1939 as a storyboard for a Surrealist film. The images are simple, but the queer storyline is, to me, simply delicious. As the copy says: “ ‘Bonsoir’ invites you on a surrealist journey where convention and ambiguity collide in the exploration of female desire.” Released on May 5, but is available on preorder now from the Tate Shop.

The second publication accompanies the Radical Landscapes exhibition at Tate Liverpool, which is a radical rethink of the ways in which the British landscape has been portrayed, loved, and fetishized. The book contains a variety of essays designed to reimagine landscape art not as an idyllic portrait of an ideal past, but as a progressive and inclusive project where everyone feels welcomed. My essay looks at the imaginings of the Goddess in the landscape and the role of ritual as an inspiration for some 20th century British based artists.

Available from Tate Bookshop.

I was honored to have been asked to contribute a show text for Lucy Stein’s brilliant show “The Wet Room” at Spike Island Bristol, running until 16 January, 2022. You can see it here.