In the first essay of her co-edited and co-conceived series, Disembodied Voices: Friendship during COVID-19, Sumaya Kassim reflects on the breakdown of a friendship, exploring feelings of abandonment, rejection and grief that led her to self-evaluate and cultivate new intimacy and care.
In the final postcard of her series, Rochelle Roberts reflects on the last few months since the first lockdown, and finds comfort and hope in the artwork of Somaya Critchlow and Dorothea Tanning’s Interior with Sudden Joy, 1951.
Homemade sees 17 acclaimed and upcoming filmmakers from around the world respond to the pandemic and quarantine experience during the first few months of lockdown.
When the world went into lockdown, nature appeared to take over, with seabirds settling in Venice and deers roaming Japan’s empty streets. Here, in the penultimate postcard of the series, Georgia Good explores nature’s return in Duane Michals’ famous work, Paradise Regained, 1968.
Majella Mark looks back to her own artwork, The Return, 2020, a celebration of African ancestry, and asks where can black men and women go to be safe in light of the murders of George Floyd and Ahmaud Arbery?
In Luchita Hurtado’s paintings, the nude female body is an affirmation of the self, a locus of solitude and personal care that reminds us to slow down and appreciate ourselves and others, writes Jennifer Brough.
Kitty Becher takes inspiration from Atsuko Tanaka’s Electric Dress, 1956, a radical and daring work that speaks to our current anxieties and dependency on technology.
On a trip to Berkeley, California, Molly Gilroy discovered Sylvia Fein’s hypnotic and blazing work, The Painting Told Me What to Do, 2012, an image, which in postcard form, has given her hope during lockdown.
Rebecca Savage reflects on 60s Pop artist Roy Lichtenstein’s In the Car, 1963, a colourful work that reminds her of the pre-corona freedoms we’re no longer able to enjoy fully.
Emma Hanson marks the sixteenth Postcard of the series with Tyler Mitchell’s Untitled – Two Girls Embrace, 2018, which she sees as a celebration of black womanhood, Black freedom and looks to the achievability of a Black utopia.
In the fifteenth Postcard of the series, Anna Kate Blair contemplates Pixie Colman-Smith’s designs for the Rider-Waite tarot deck and pays close attention to the Hermit, a card whose solitary figure resonates with our times.
In the first of her self-conceived series, The Dinner Party Reloaded, a virtual dinner party with selected artists and writers, Susanna Crossman meets Chiara Ambrosio, Lottie Whalen and Jemima Yong to discuss their creative projects, the looseness of time in lockdown, contact and intimacy in our increasingly digital age and the joys of chickpea stew.
