I have responded to three exhibitions on show at AirSpace Gallery, Stoke-on-Trent, this spring as part of their ongoing Graduate…
Anomie Collections 1
Anomie Collections 1 is a publication accompanying the first edition of Anomie Collections – a London-based initiative that supports the…
A Year of Drawings. Walking the Line: interview with Kathryn Maple
Kathryn Maple (b. 1989, Canterbury) is an artist specialising in drawing and painting. Her large-scale paintings feature urban, suburban and…
Katrina Palmer: What’s Already Going On
In her multidisciplinary, text-based practice, Katrina Palmer (b.1967) grapples with evocative subjects. Absences, openings and the body, for instance, surface…
Art Quarterly Spring 2023
I have contributed two pieces to Art Quarterly Spring 2023: an exhibition preview of Berthe Morisot: Shaping Impressionism at Dulwich…
Horror in the Modernist Block
In the gallery foyer a torn and grubby football perches on top of a rusty lamp post like a head…
Art Quarterly Winter 2022
I have contributed two pieces to Art Quarterly Winter 2022: reviews of Ali Cherri: If You Prick Us Do We…
Alberta Whittle: We gather and dream of new congregations
The overriding concerns of Alberta Whittle (b.1980) – how care, community and growth resist experiences of anti-Blackness – are manifest…
Art Quarterly Autumn 2022
I’ve written two pieces for Art Quarterly Autumn 2022: reviews of Vivian Maier: Anthology at MK Gallery and Ruth Millington’s…
Max Ferguson: Whistling for Owls
Glassine, a smooth, distinctively rustling, semi-translucent paper, is a material I remember from childhood. My father, a teacher with a…
Anneka French 