Fiction
Millimetre02 at Kingsgate Project Space, ‘I keep dreaming in my stolen sleeps’, 2022 [print]
Jessica Wetherly – Sink or Float: An Artificial Island, ‘Leaftide‘, 2022 [print edition]
Collaboration with Gregory Herbert, ‘Myco-heterotrophy‘, text for exhibition Nutrient Market at CBS Gallery, 2021
Collaboration with Natalia Janula, ‘Iris, rhizome I‘: text and voice for video mixed reality visual poem, 2021
Facing Extinction, ‘a sounding of sensitivities‘, published by Corridor8, 2020 [print and online]
Ellipsis Zine, ‘Caught‘, 2020
textur magazine, ‘Under Negotiation‘, commissioned by Furtherfield Gallery, 2020 [print and online]
GRAIN Projects, ‘Photosynthesis‘, 2020
Open Space Contemporary, ‘Orpheus Dispersed‘, 2020
About Place Journal, ‘The Swaling‘, 2020
Site Projects, ‘i sing the body microbial‘, 2020
Camden Arts Centre Peer Forum Instagram Takeover, ‘there will be dancing and us‘, 2020
Novelty Magazine, ‘Laurel‘, 2020
You Are Here Journal, ‘Mind-Change‘, 2020
Collaboration with Inês Neto dos Santos, ‘If you change your mind, you can change the future‘:
text and audio for a performative dinner for the Papanek Symposium at Porto Design Biennale, supported by the University of Applied Arts of Vienna, 2019
Exhibition essays
Xiaochi Dong, Rowley Hayes, & Sammi Lynch at Lychee One, ‘Delicate Bonds‘, 2024
Connie Harrison at Informality Gallery, ‘In Midst, Unfolding‘, 2023
Laura Berger, Lydia Baker, & Larysa Myers at Wilder Gallery, ‘Aura‘, 2023
Diane Chappalley at Lychee One, ‘Constellation’, 2023
Konstantina Krikzoni at New Child Gallery, Antwerp, ‘Chamber‘, 2023
Wendy Kirkup supported by Creative Scotland Open Fund Award, ‘Rough Cut Botanical‘, 2022
Minyoung Choi at Lychee One, ‘Always There‘, 2022
Morteza Khakshoor at Wilder Gallery, ‘Dirty Words and a Melody‘, 2022
Marlene Steyn at Lychee One, ‘You-Me-Verse‘, 2022
James Owens at Lychee One, ‘Dreaming of UFOs‘, 2022
Group show at Mothflower, ‘Arcadia‘, 2022
Tracy Hill, supported by Arts Council England, ‘Porosity‘, 2022
Lena Dubitskaya at Wilder Gallery X Mothflower, ‘Corolor Pictulures‘, 2022
Claire Baily at Castor Projects, ‘Terra Incognita‘, 2022
Marielle Hehir & Robert Mead at APT Gallery, ‘Genius Loci: Painting the Spirit of Place’, 2022
Group show curated by Ariane Hughes at Gallery 46, ‘Damned If I Do‘, 2022
Anne Carney at Wilder Gallery, ‘Pleasure Zones‘, 2022
Mothflower X Clint Roenisch Gallery, Toronto, ‘Anonymous Was a Woman‘, 2022
Katie Spragg: Lambeth Wilds at Garden Museum, ‘The Hushed Beauty of Weeds’, 2022
Gregory Herbert: Making-With at CCA Glasgow & Sheffield DocFest, ‘Spaces for Symbiosis‘, 2021
Anna Skladmann & Yulia Iosilzon: Paradise is Not Just a Place at Roman Road, ‘After the Garden‘, 2021
Freya Douglas-Morris at Arusha Gallery, ‘Hills of Honey‘, 2021
Diane Chappalley & Anna Reading at Informality Gallery, ‘The Auguries‘, 2021
Minyoung Choi at Lychee One, ‘Things that happen when we are not looking‘, 2021
Daisy Dodd Noble at The Columbia/Roman Road, ‘The Wood for the Trees’, 2021
Beating Time at ARB Cambridge, ‘An Active State of Being‘, 2020
Guy Haddon Grant: Surrender at Roman Road, ‘Here or There: Process and Presence’, 2019
Tom Sharp: Twenty-Five Sculptures in Five Dimensions at the Swiss Church, ‘Sculptural Seeing‘, 2019
Anna Skladmann, ‘The Genesis of Blame: A History of Forbidden Fruit‘, 2019
Rewind/Rewild at OmVed Gardens, ‘Being with Others‘, 2019
Subsidiary Projects & Dateagle Art, ‘The Animal Inside: We Are Not of Ourselves‘, 2019
Emma Witter: Remember You Must Die at Sarabande Foundation, ‘Memento Mori’, 2019
Marco Miehling & James Fuller: An Arrangement in Two Halves, A Bench in Two Parts at William Benington Gallery and Lily Brooke Gallery, ‘Making Arrangements’, 2019
Essays and reviews
2024
Hyperallergic, ‘Woody de Othello combines sublimation and supplication‘
Hyperallergic, ‘Two lesbian lovers’ elaborate art hoax‘
Hyperallergic, ‘A Sami artist’s call for ancestral return‘
Hyperallergic, ‘Can we survive without reconnecting to the earth?‘
Hyperallergic, ‘Monica Sjoo’s radical feminist goddesses‘
Resurgence & Ecologist, ‘Radical Landscapes’
2023
Hyperallergic, ‘Women’s oppression is the earth’s oppression: RE/SISTERS at Barbican‘
Hyperallergic, ‘The Prolific Genius of Frank Walter‘
Hyperallergic, ‘An artist’s ode to worms: Tamara Henderson at Camden Art Centre‘
Hyperallergic, ‘Care isn’t enough for the climate crisis‘
Hyperallergic, ‘Carolina Caycedo’s spiritual fieldwork‘
Resurgence & Ecologist, ‘First Came the Landscape’
Where the Leaves Fall, ‘Make Me Good soil: An Interview with Sophie Strand‘
2022
Decolonise the Garden: Radicle Substack, ‘Notes towards a vegetal feminism‘
Hyperallergic, ‘The pleasures and pain of Carolee Schneemann’s body politics‘
Hyperallergic, ‘The politics of the air we breathe‘
Hyperallergic, ‘Dreaming with Homer on an idyllic French island‘
Hyperallergic, ‘Celine Condorelli: The Hidden Labour of Exhibitions‘
Hyperallergic, ‘The British Museum takes the feminism out of Feminine Power‘
Hyperallergic, ‘Celebrating Samoa’s third gender through radical camp‘
Hyperallergic, ‘Tanoa Sasraku’s engimatic “earth photos”‘
Hyperallergic, ‘In Venice, a show draws connections between colonialism and marine ecology‘
Hyperallergic, ‘Venice’s Sami Pavilion is a coup for Indigenous artists‘
Hyperallergic, ‘The monstrous beauty of Louise Bourgeois’ late textiles‘
Hyperallergic, ‘Gisela McDaniel at Pilar Corrias: A painter takes a collaborative approach to the portrait‘
Resurgence & The Ecologist, ‘Making drama out of a crisis‘ [print & online]
Synesthesia, ‘Tony Plant: Noughts and Crosses‘
Synesthesia, ‘Fiona J Sperryn: Coded Fibres‘
Where the Leaves Fall, ‘Wild Arrows‘ [print & online]
Where the Leaves Fall, ‘The Sami Narrative‘ [print & online]
Where the Leaves Fall, ‘Rooted Beings‘ [print & online]
2021
The Architectural Review, ‘The wood wide web: Trees in literature‘
Burlington Contemporary, ‘Review: Bolt from the Blue by Jeremy Cooper‘
Earth Minus Environment, ‘The Environment Hijacked‘
Hyperallergic, ‘At Tate Modern, an installation blurs the line between technology and biology‘
Hyperallergic, ‘Paul by Daisy Lafarge: Sexism and colonialism intertwine in the story of a toxic relationship‘
Hyperallergic, ‘Christine Borland: The indigenous and female roots of harvesting flax‘
Hyperallergic, ‘Unravelling Rodin’s artistic mystique‘
Hyperallergic, ‘Veronica Ryan’s botanical musings on migration‘
Hyperallergic, ‘Spilled milk and other acts of protest visualize the politics of food production‘
Hyperallergic, ‘Salmon pink and other relics of pre-industrial agriculture‘
Inigo, ‘A Lesson in Craft: The enigmatic depths of Tuesday Riddell’s japanned artworks‘
It’s Freezing in LA!, ‘Ecological Borderlands’ [print]
It’s Freezing in LA!, ‘Review: Daisy Lafarge – Life Without Air‘
Resurgence & The Ecologist, ‘Closing the net on salmon farming: Anna Souter speaks to artist duo Cooking Sections’ [print]
This is Tomorrow, ‘Simon Linington: Bajo la Sierra Larga at Joya AiR‘
This is Tomorrow, ‘Miriam Austin: Andesite at Bosse & Baum‘
Resurgence & The Ecologist, ‘A Growing Trend‘
Where the Leaves Fall, ‘Bathed in Light: Modernism and the healing properties of the sun‘ [print and online]
Where the Leaves Fall, ‘The Grammar of Being: How our use of language can define our relationship with the natural world‘ [print and online]
Where the Leaves Fall, ‘Tamara Dean: In (Our) Nature‘ [print and online]
Where the Leaves Fall, ‘The Beautiful Horror of Plants‘ [print and online]
Where the Leaves Fall, ‘Melting Eternity: The Changing Metaphors of Ice‘ [print and online]
2020
Create Magazine, ‘Photographic Editions Explore the Domestic Interior‘
Collecteurs, ‘12 Pack: Paths to an Ecological Crisis‘
DATEAGLE ART, ‘Liz Elton: Disintegration‘
DATEAGLE ART, ‘Diane Chappalley: Untouched Abundance‘
The Earth Issue, ‘Grete Hjorth-Johansen: Tartarus‘
The Guardian, ‘Dirty pretty things: Air pollution in art from JMW Turner to today‘
Hyperallergic, ‘An Invitation to Get Caught in the Spider’s Web: Tomás Saraceno’s Arachnomancy‘
Hyperallergic, ‘The Botanical Mind Online: Artists, Writers, Musicians, and More Explore the Intersections between Art and Ecology‘
Hyperallergic, ‘Joana Vasconcelos’s Bold, Feminist Sculptures Pop Against an English Landscape‘
Hyperallergic, ‘Artists, Designers, and Activists Address Climate Breakdown in a Pop-Up Exhibition‘
The Learned Pig, ‘re:rural at Haarlem Artspace‘
This is Tomorrow, ‘Among the Trees at Hayward Gallery‘
This is Tomorrow, ‘Shani Rhys James: tea on the sofa, blood on the carpet‘
This is Tomorrow, ‘Vivian Suter: Tintin’s Sofa at Camden Arts Centre‘
The Upcoming, ‘Review: Sensing the Unseen at National Gallery‘
The Upcoming, ‘Review: Tracey Emin/Edvard Munch at Royal Academy‘
The Upcoming, ‘Review: Bruce Nauman at Tate Modern‘
The Upcoming, ‘Review: Artemisia at National Gallery‘
The Upcoming, ‘Review: Radical Figures at Whitechapel Gallery‘
Where the Leaves Fall magazine, ‘A Mutual Feeling: Entangled Lives‘ [print and online]
Where the Leaves Fall magazine, ‘Nuclear Plants‘ [print and online]
2019
Anniversary Magazine, ‘Guy Haddon Grant – In the Sculptor’s Studio‘
The Architectural Review, ‘Book of Books: Run Rewild – Reinstating Nature‘ [online & print]
Art on a Postcard, ‘Anna Souter: Curator’s Picks – Secret Auction 2019‘
Artsy, ‘The Dark Side of Surrealism that Exploited Women’s “Hysteria”‘
Assemblage Magazine, ‘Anna Souter and Beatrice Searle in Conversation‘
The Brooklyn Rail, ‘Sophy Rickett, The Curious Moaning of Kenfig Burrows‘ [online & print]
Burlington Contemporary, ‘Patricia Domínguez: Green Irises‘
Candid Magazine, ‘Rewind/Rewild: An Exhibition Exploring Ecological Art In A Restored Glasshouse‘
Creative Countryside, ‘Creative Rewilding‘
DATEAGLE ART, ‘Jake Grewal: The Fantasy of Nature‘
DATEAGLE ART, ‘Emma Witter: Memento Mori‘
DATEAGLE ART, ‘Julia Crabtree & William Evans: Elisions‘
DATEAGLE ART, ‘Freya Douglas-Morris: Cohabiting‘
DATEAGLE ART, ‘Amy Stephens: Geological Relandings‘
The Earth Issue, ‘Multispecies Entanglements at the Venice Biennale‘
The Ecologist, ‘Creative Approaches to Rewilding‘
Hyperallergic, ‘Joy Labinjo’s dynamic process in painting her family‘
Hyperallergic, ‘Technological invention is not necessarily the answer to a sustainable future‘
Hyperallergic, ‘Creating Soundscapes From the Whispering, Bubbling, and Roaring Earth‘
Hyperallergic, ‘Maren Hessinger reminds us that equality is for everyone‘
Hyperallergic, ‘Holly Hendry Designs a Sculptural Synthetic Skin‘
Hyperallergic, ‘Antony Gormley Explores the Body as a Space Within a Space‘
Hyperallergic, ‘The Sprawling Ecologies of Olafur Eliasson‘
Hyperallergic, ‘Rising Tides and Climate Change Color the Venice Biennale This Year‘
Hyperallergic, ‘Plastic Capitalism traces the phenomenon of “waste art”‘
Hyperallergic, ‘Exhibition Comparing Hockney and Van Gogh Searches for Common Ground’
Inside Ecology, ‘Can rewilding allow us to co-exist peacefully with other species?‘
The Learned Pig, ‘Rewilding the Exhibition‘
The Learned Pig, ‘Architecture for All‘
Panorama: The Journal of Intelligent Travel, ‘Common Ground‘
Sustainability Times, ‘Rewilding can help repair our badly fractured environment‘
This is Tomorrow, ‘Joanna Rajkowska: The Failure of Mankind at l’étrangère‘
This is Tomorrow, ‘Venice Biennale 2019: Dane Mitchell – Post Hoc‘
This is Tomorrow, ‘Senga Nengudi at Sprüth Magers‘
This is Tomorrow, ‘Venice Biennale 2019: Larissa Sansour – Heirloom‘
This is Tomorrow, ‘Geta Brătescu: The Power of the Line at Hauser & Wirth‘
This is Tomorrow, ‘Subversive Stitch at TJ Boulting‘
This is Tomorrow, ‘Jerwood Solo Presentations‘
This Is Tomorrow, ‘Amie Siegel: Backstory at Thomas Dane‘
The Upcoming, ‘William Blake at Tate Britain‘
The Upcoming, ‘TS Eliot: Four Quartets at the Barbican‘
The Upcoming, ‘Van Gogh and Britain at Tate Britain‘
Village Raw, ‘Thinking Local to Act Global’ [print]
Village Raw, ‘Rewilding in the City‘
Where the Leaves Fall, ‘The Wild Inside‘ [print]
2018
ArtSlant, ‘Jules de Balincourt at Victoria Miro: A Troubled Eden or a Promised Land‘
Candid Magazine, ‘Decorating with Nature: Les Lalannes at Ben Brown Fine Arts‘
Candid Magazine, ‘Surreal Science: Salvatore Arancio at Whitechapel Gallery‘
Creative Countryside, ‘Life on the Wing: The Joy and Tragedy of the Swift’ [print]
DATEAGLE ART, ‘Inês Neto dos Santos: Cultivating Unseen Things‘
DATEAGLE ART, ‘Rodrigo Arteaga: Ecologies of Art Making‘
DATEAGLE ART, ‘Marco Miehling: The Apparatus of Materiality‘
DATEAGLE ART, ‘Nayoug Kang: Urban Nature‘
DATEAGLE ART, ‘Anna Skladmann: Narcissus, A Modern Myth‘
Hyperallergic, ‘“Being born black in America is a political act”: An Interview with Senga Nengudi‘
Hyperallergic, ‘Shedding Light on the Messy Beauty of the Arctic‘
Online, ‘The Tree‘
ROAM Magazine, ‘Places of the Mind: Kumano Kodo Pilgrimage Trail, Japan‘
Roman Road Journal, ‘Louise Bourgeois: Subversive Stitching‘
Roman Road Journal, ‘Art and the Sexual Revolution‘
Roman Road Journal, ‘The Exhibition as Medium‘
Roman Road Journal, ‘Portrait/Landscape: Interview with Matthew Day Jackson‘
The Upcoming, ‘Code Builder: A Robotic Choreography by Mamou-Mani‘
The Upcoming, ‘Landscape in Flux: Thomas Cole at National Gallery‘
The Upcoming, ‘Nature Institutionalised – Mark Dion at Whitechapel‘
The Upcoming, ‘Chiharu Shiota: Me Somewhere Else at Blain Southern‘
2017
Roman Road Journal, ‘Why We Don’t Trust Colour in Art‘
Roman Road Journal, ‘Interview with Quantum Biologist Johnjoe McFadden‘
Roman Road Journal, ‘Post-Internet Art: The Search for a Definition‘
Roman Road Journal, ‘Alberto Giacometti: Sculpture and the Question of Distance‘
Roman Road Journal, ‘Sex Toy or Sculpture: The Gallery as a Clean, Well-Lighted Place‘
Roman Road Journal, ‘Changing Times in a Contemporary Dystopia: How Does Art Respond to Politics?‘
Roman Road Journal, ‘Protest, Process and Change: How the Provoke Movement Can Offer Lessons for Artists Today‘
The Upcoming, ‘The Eyes Have It – Modigliani at Tate Modern‘
The Upcoming, ‘Standing Witnesses – Giacometti at Tate Modern‘
The Upcoming, ‘Behind the Mask: Gillian Wearing and Claude Cahun at NPG‘
The Upcoming, ‘A Handful of Dust at Whitechapel Gallery‘
Rucksack Magazine, ‘Where Art Meets Nature‘
2016
The Art Story, ‘Freud and Bacon: Lives Lived Under Scrutiny‘
Art UK, ‘The Secret Lives of Two Scandalous Victorian Marriages‘
Oh Comely, ‘Coming Home‘
2014
MA Thesis, History of Art, Courtauld Institute of Art, ‘Women’s work: Representing the hysterical body in the late sculptural fabric works of Louise Bourgeois‘