Rachel Ashenden talks to artist Nell Brookfield about how her evocative paintings’ capture the strange in the quotidian and unleash the animalistic in the human.
In these two compelling poems written using the surrealist automatism method, Angel Dionne creates strange imagistic worlds that quietly move as much as they unsettle.
Chance encounters, random moments, fateful figures spinning a celestial web. These are the images and occurrences that form the life and work of Surrealist artist Remedios Varo and inspire author Rym Kechacha’s own writing, especially her latest novel, To Catch a Moon.
Rosanne Robertson’s Subterrane uses both the ruggedness and fluidity of the West Cornish coastline to celebrate the beauty of queer bodies and gender non-conformity, writes Catherine Howe.
In the Whitechapel’s latest retrospective, Eileen Agar is revealed as an artist of unique imagination, a free spirit whose repertoire looked to the magic of nature for inspiration, writes our contributor Denise Hansen.
Following Lispector and Carrington in her pursuit of the surreal, Jen Calleja’s fantastical short story collection promises to leave a lasting impression, writes Jade French.
Bringing together thirteen emerging artists between the ages of 16-25, the Barbican’s latest exhibition, It All Comes Down, explores how young people navigate the world and approach their artistic practise during the pandemic.
Sleeplessness gives way to the dreamy promise of luscious fruits, beautiful bodies and fantastical lands in Elodie Rose Barnes’ poetry, inspired, in part, by Leonora Carrington and H. D.
In this beautiful creative non-fiction piece, ‘Gold Top’, Rym Kechacha uses Remedios Varo’s painting, Celestial Pablum, to explore her own experiences of breastfeeding her baby daughter through the night.
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.
On removing a postcard of Frida Kahlo from her wall, Rachel Ashenden began to reflect on past loves, the feelings postcards evoke and the liberation one can feel, even in lockdown, towards old relationships.
