Emma McNally redefines the boundaries of drawing with her multi-dimensional, disruptive works that explore the complexities of existence in the context of environmental degradation and extractive capitalism. By deconstructing the traditional concept of a self-contained drawing, McNally challenges us to collectively imagine alternatives to individualistic systems that perpetuate domination, subjugation, and destruction.

The Earth is Knot Flat is McNally’s first solo instructional exhibition in the UK and her most ambitious installation to date. The exhibition incorporates film projections created in collaboration with Manon Schwich, adding an immersive, multimedia element to the experience.

McNally transforms raw drawing materials—paper, graphite, gum Arabic, and kaolin—through techniques such as crumpling, folding, twisting, and perforating. These manipulations result in large, undulating installations that cascade into the gallery like glacial rock debris. The surfaces are layered with intricate markings, including swirling ellipses and staccato scratches, created both by hand and with tools such as sanders and drills. Complementing these monumental pieces are smaller, suspended works made from wires, mesh, and crochet, which hover like ethereal, cobwebbed clouds.

McNally’s work inspires through its scale, material experimentation, and interactivity. One standout aspect of her installation involves dim lighting and flashlights handed to viewers, allowing them to explore the textures and details of her drawings, creating an engaging and dynamic experience. Her use of geological symbols and layered textures evokes themes of labor, colonial history, and humanity’s impact on the natural world. By intertwining diverse materials and innovative techniques, McNally constructs a powerful commentary on existence, leaving a lasting impression on her audience.

Yu Chen Wang Artist Talk

During a recent visit to Tate Modern, we attended an artist talk by Yu Chen Wang and explored the exhibition How We Are Where We Are. This exhibition investigates the visual strategies used by nineteenth-century British museums during a time of industrial development, economic progress, and imperial expansion. Wang’s work critically examines human identity at a pivotal historical moment when natural ecosystems and technological systems have become deeply intertwined. Her long-standing interest in the relationship between land, history, and identity is a central theme of her practice.

Wang’s projects are often developed through residencies, field research, cross-cultural collaborations, and site-responsive exhibitions. These processes allow her to explore the history of places, collective memories, and personal stories while fostering connections with local communities. Her work has delved into a wide range of contexts, from Manchester’s textile and railway industries, Birmingham’s canal networks, and Liverpool’s maritime navigation, to CERN’s particle physics research, South Yorkshire’s coal mining, and East Anglia’s peatland conservation. Most recently, she has investigated Taiwan’s mangrove forests, adding another layer to her multidisciplinary practice.

Wang’s perspective resonates with me, especially her reflections on history and identity. As an artist navigating similar themes, I find her work inspiring. Hearing her discuss her experiences as a foreign artist in the UK deeply moved me, as I share many of the same feelings. Wang’s success and unique perspective as an Asian artist in the Western art world serve as a powerful source of motivation and encouragement. Her journey demonstrates the possibilities for cross-cultural exploration and the strength of storytelling in shaping an artistic practice.

Painters’ Form: Michael Arjeman on the Work of Paula Rego

Before attending Michael Arjeman’s talk, my familiarity with Paula Rego’s work was limited to her prints, particularly her use of bold colors, dynamic lines, and abstract figures. However, the talk provided a comprehensive insight into Rego’s life and artistic process. Rego’s honesty, dedication, and unique inspirations—ranging from fairytales and folklore to her appreciation of Disney—emerged as central themes in her creative journey. Michael’s detailed analysis included rarely seen works, revealing the depth of his research and his intimate understanding of her practice.

One of Rego’s most notable contributions is her Dog Women series, where she portrays women in raw, primal states—sitting, squatting, scratching, and defying traditional notions of femininity. These works challenge societal expectations, presenting women as powerful and unapologetically human. By rejecting idealized depictions and embracing untamed, animalistic behavior, Rego explores the strength, vulnerability, and erotic vitality often suppressed in women. Her use of pastels in these large-scale works heightens the emotional intensity, with the medium capturing her fierce passion and energy.

Rego’s association with feminism is evident in her exploration of themes from Simone de Beauvoir’s The Second Sex and her alignment with Freudian ideas in feminist art criticism. Pieces like Girl Lifting up her Skirt to a Dog (1986) and Two Girls and a Dog (1987) evoke unsettling undertones, challenging viewers’ perceptions while reflecting the complexities of womanhood. Rego often resisted overt sexual interpretations of her work, emphasizing instead the physical and emotional realities of women as multifaceted human beings.

Michael’s talk profoundly deepened my understanding of Rego’s work and inspired me to embrace a broader range of influences in my own practice. I realized that inspiration can come not only from books and museums but also from personal experiences and hobbies—an approach Rego exemplifies unapologetically.