Kirsten Glass’ enchanting paintings conjure alternate realms, invoke esoteric energies and summon nocturnal beings. In this creative essay, Hannah Hutchings-Georgiou meditates on the “obverse” side of her mesmerising work and its magical channeling of all things dark.
Heavy with heartache and loss, Lisa Goodrum turned to the haunting photography of Francesca Woodman to make sense of the pain and the blurry, achromatic period that was the summer of 2019. Here, in hauntingly beautiful prose, she tells her story.
In this beautifully evocative essay, Rolake Osabia reflects on her own practice as an artist and painter of portraiture, and describes what it felt like to relinquish control, have her own portrait painted, and become somebody else’s muse.
The Royal Academy’s latest exhibition, Whistler’s Woman in White: Joanna Hiffernan, uses paintings, drawings and sketchbooks to shine a light on the woman behind the muse, the business manager and companion behind the model.
Angry at the sexual harassment women experience, Molly Williams began to paint something disturbing but powerful. The resulting painting, Bloody Barbarella, was her way of speaking back and subverting the violence of misogyny.
Artists Kat Cutler-MacKenzie and Ben Caro discuss their collaborative work, O.o.o.h! , a semi-pedagogic, semi-absurd investigation into the menstrual cycle inspired, in part, by the thought of philosopher Graham Harman and the photographs of Rafal Miłach.