Light Industry
19 Sep—15 Nov 2025Light Industry brings together the work of nine artists and photographers, across generations, who have worked within the theme of industry. Viewed collectively, the works explore how industries, past and present, and of various scales and levels of visibility, continue to impact our bodies and shape the wider environment.
Laurenz Berges, Guido Guidi, Craigie Horsfield, Gerry Johansson, Morgan Levy, Rut Blees Luxemburg, Roger Palmer, Mark Ruwedel and Ursula Schulz-Dornburg.
Laurenz Berges (b. 1966, Cloppenburg, Germany) lives and works in Düsseldorf. Berges' photographic work focuses primarily on transience, and the space between use and decay. Berges studied under Bernd Becher and spent a year assisting Evelyn Hofer in the 1980’s. Selected Exhibitions: The Becher House in Mudersbach, The Photographic Collection SK Kultur, Cologne (solo, 2023/24); Josef Albers Museum Quadrat, Bottrop (solo, 2020).
Guido Guidi (b. 1941, Cesena, Italy) lives and works in Cesena. Guido Guidi is one of Italy’s most respected photographers, with a career spanning more than five decades. He has mostly focused his lens on rural and suburban geographies close to his home. Selected Exhibitions: ‘Col tempo, 1956–2024’, a comprehensive retrospective is currently touring Europe from the MAXXI, Rome, and is accompanied by a major new monograph published by MACK.
Craigie Horsfield (b. 1949, Cambridge, UK) lives and works in London. Horsfield’s work combines film, photography, sound, engraving and drawing, and is most well-known for his large-scale, unique prints. He often prints the photographs many years after they were first taken, bringing into contrast memory and the present reality. Selected Exhibitions: Documenta X and XI, Kassel (group 1997, 2002); Tate Britain, London (solo, 2017). He was nominated for the Turner Prize in 1996.
Gerry Johansson (b. 1945, Örebro, Sweden) lives and works in Höganäs. Johansson is one of Sweden’s most renowned photographers. Working mostly in black and white, and favouring the square format, Johansson is attracted to the neglected details of urban space. Selected Exhibitions: Les Rencontres de la Photographie, Arles (group, 2024); Moderna Museet, Stockholm (solo, 1982 and 2003). He has been awarded the Prince Eugen Medal for outstanding artistic achievement in 2024.
Morgan Levy (b. 1985, Philadelphia, USA) based in Brooklyn. Levy combines performance, staged photography and documentary approaches, often working in partnership with her collaborators. Levy is informed by canonical 20th century images of work and labour in America, and feminist photographic practices from the 1970s onwards. Selected Exhibitions: V&A Parasol Foundation Prize for Women in Photography, Peckham24 (group, 2025).
Rut Blees Luxemburg (b. 1967, Germany) based in London. Blees Luxemburg is Professor of Urban Aesthetics at the Royal College of Art. She re-envisions cities through large-scale photographic works, public art installations, and operatic productions. Selected Exhibitions: Werkstatt Fotografie, Hamburg (group, 2024); Museum of London, London (solo, 2015).
Roger Palmer (b. 1946, Portsmouth, UK) lives and works in Glasgow. Working as an artist and educator since the 1970s, Palmer's research and practice have contributed to debates on the representation of place, as well as ideas of location and dislocation, migration and settlement. Selected Exhibitions: Centre of Contemporary Art, Glasgow (solo, 2022); South African National Gallery, Cape Town (group, 2000).
Mark Ruwedel (b. 1954, Bethlehem, USA) lives in Los Angeles. Working primarily in the western territories of the US and Canada, Ruwedel's work explores how geological, historical and political events leave their marks on the landscape. Merging documentary and conceptual methods, he also finds influence in land art echoed in his images of abandoned railways, nuclear testing sites and empty desert homes. Selected Exhibitions: Tate Modern, London, (solo, 2018); Getty Museum, Los Angeles, (group, 2019). He was awarded both a Guggenheim Fellowship and the Scotiabank Photography Award in 2014.
Ursula Schulz-Dornburg (b. 1938, Berlin, Germany) lives and works in Düsseldorf. Ursula Schulz-Dornburg grew up in the aftermath of the Second World War. Since the 1970s, she has sought out places of transit and borderlands, locations geographically and politically caught up in a state of in-between. Selected Exhibitions: Kunsthalle Düsseldorf, (solo, 2025); MEP, Paris, (solo, 2019/20) Tate Modern, London, (solo, 2013). Schulz-Dornburg has been awarded both the NRW Art Award and the Bernd and Hilla Becher Award in 2025.
Laurenz Berges, Guido Guidi, Craigie Horsfield, Gerry Johansson, Morgan Levy, Rut Blees Luxemburg, Roger Palmer, Mark Ruwedel and Ursula Schulz-Dornburg.
Laurenz Berges (b. 1966, Cloppenburg, Germany) lives and works in Düsseldorf. Berges' photographic work focuses primarily on transience, and the space between use and decay. Berges studied under Bernd Becher and spent a year assisting Evelyn Hofer in the 1980’s. Selected Exhibitions: The Becher House in Mudersbach, The Photographic Collection SK Kultur, Cologne (solo, 2023/24); Josef Albers Museum Quadrat, Bottrop (solo, 2020).
Guido Guidi (b. 1941, Cesena, Italy) lives and works in Cesena. Guido Guidi is one of Italy’s most respected photographers, with a career spanning more than five decades. He has mostly focused his lens on rural and suburban geographies close to his home. Selected Exhibitions: ‘Col tempo, 1956–2024’, a comprehensive retrospective is currently touring Europe from the MAXXI, Rome, and is accompanied by a major new monograph published by MACK.
Craigie Horsfield (b. 1949, Cambridge, UK) lives and works in London. Horsfield’s work combines film, photography, sound, engraving and drawing, and is most well-known for his large-scale, unique prints. He often prints the photographs many years after they were first taken, bringing into contrast memory and the present reality. Selected Exhibitions: Documenta X and XI, Kassel (group 1997, 2002); Tate Britain, London (solo, 2017). He was nominated for the Turner Prize in 1996.
Gerry Johansson (b. 1945, Örebro, Sweden) lives and works in Höganäs. Johansson is one of Sweden’s most renowned photographers. Working mostly in black and white, and favouring the square format, Johansson is attracted to the neglected details of urban space. Selected Exhibitions: Les Rencontres de la Photographie, Arles (group, 2024); Moderna Museet, Stockholm (solo, 1982 and 2003). He has been awarded the Prince Eugen Medal for outstanding artistic achievement in 2024.
Morgan Levy (b. 1985, Philadelphia, USA) based in Brooklyn. Levy combines performance, staged photography and documentary approaches, often working in partnership with her collaborators. Levy is informed by canonical 20th century images of work and labour in America, and feminist photographic practices from the 1970s onwards. Selected Exhibitions: V&A Parasol Foundation Prize for Women in Photography, Peckham24 (group, 2025).
Rut Blees Luxemburg (b. 1967, Germany) based in London. Blees Luxemburg is Professor of Urban Aesthetics at the Royal College of Art. She re-envisions cities through large-scale photographic works, public art installations, and operatic productions. Selected Exhibitions: Werkstatt Fotografie, Hamburg (group, 2024); Museum of London, London (solo, 2015).
Roger Palmer (b. 1946, Portsmouth, UK) lives and works in Glasgow. Working as an artist and educator since the 1970s, Palmer's research and practice have contributed to debates on the representation of place, as well as ideas of location and dislocation, migration and settlement. Selected Exhibitions: Centre of Contemporary Art, Glasgow (solo, 2022); South African National Gallery, Cape Town (group, 2000).
Mark Ruwedel (b. 1954, Bethlehem, USA) lives in Los Angeles. Working primarily in the western territories of the US and Canada, Ruwedel's work explores how geological, historical and political events leave their marks on the landscape. Merging documentary and conceptual methods, he also finds influence in land art echoed in his images of abandoned railways, nuclear testing sites and empty desert homes. Selected Exhibitions: Tate Modern, London, (solo, 2018); Getty Museum, Los Angeles, (group, 2019). He was awarded both a Guggenheim Fellowship and the Scotiabank Photography Award in 2014.
Ursula Schulz-Dornburg (b. 1938, Berlin, Germany) lives and works in Düsseldorf. Ursula Schulz-Dornburg grew up in the aftermath of the Second World War. Since the 1970s, she has sought out places of transit and borderlands, locations geographically and politically caught up in a state of in-between. Selected Exhibitions: Kunsthalle Düsseldorf, (solo, 2025); MEP, Paris, (solo, 2019/20) Tate Modern, London, (solo, 2013). Schulz-Dornburg has been awarded both the NRW Art Award and the Bernd and Hilla Becher Award in 2025.
Laurenz Berges
Guido Guidi
Craigie Horsfield
Gerry Johansson
Morgan Levy
Rut Blees Luxemburg
Roger Palmer
Mark Ruwedel
Ursula Schulz-Dornburg
Enquiries
sales: Charlotte Schepke
info: Gabrielle Slack-Smith
Guido Guidi
Craigie Horsfield
Gerry Johansson
Morgan Levy
Rut Blees Luxemburg
Roger Palmer
Mark Ruwedel
Ursula Schulz-Dornburg
Enquiries
sales: Charlotte Schepke
info: Gabrielle Slack-Smith
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The Edge of Forever
Emma McNally, Alison Turnbull
13 Jun—6 Sep 2025The Edge of Forever is an exhibition of paintings by Alison Turnbull and drawings by Emma McNally. The title is borrowed from the planetary scientist Carl Sagan’s 1980’s book Cosmos.
"Enmeshed in infinities, artists and scientists conjure with the universe from within the confines of the human body, under the deadlines imposed by a limited lifespan.", writes Dava Sobel (author of Longitude) in her accompanying text. "They apply mathematics and imagination. They detect tremors emanating from collisions between the most massive dying stars. They hear the music of the spheres."
Emma McNally’s meticulous drawings suggest maps or charts of things as complex and various as seas, the night sky, military bases, computer circuit boards, flight paths. "For me drawing is a rhythmic material sounding of inseparability. ‘Song X’ series is staying with the trouble of the edge, the border: an attempt at a dynamic reformulation. Maybe forever (always, all ways) abides in the scrambling of the idea of the edge, which is to say, in borderlessness, inseparability, indeterminacy, entanglement, rhythm, deep field."
Alison Turnbull's expansive painting series 'eXtreme Deep Field' derives from a composite astronomical image made using the Hubble Space Telescope, eXtreme Deep Field. For Turnbull the Hubble image, has a strong relationship with painting: "It’s a picture of time that is very densely constructed; if you looked out through a telescope you would never actually see this, and it moves photography far beyond the question of analogue or digital… Here the notion of the 'onement' of painting is set against the infinity of the image."
Emma McNally (b. 1969, Essex) lives and works in London. McNally studied Philosophy and Literature at the University of York before continuing her thinking visually through drawing. Recent group and solo exhibitions include: The Drawing Room, London, UK (2024); ‘Afterness’, Artangel / National Trust, Orford Ness, UK (2021); 20th Biennale of Sydney, AU (2016) and ‘The form of the Form’; Lisbon Architecture Triennale (2016); ‘Mirrorcity’, Hayward Gallery, London, UK (2015); ‘Seeing/Knowing’, Kenyon College of Liberal Arts, Ohio, US (2011).
Alison Turnbull, (b. 1956, Bogotá, Colombia) lives and works in London. Turnbull transforms readymade information – plans, diagrams, blueprints, charts – into abstract paintings. Selected solo and group exhibitions include Casas Riegner, Bogotá (2025); Inverleith House, Edinburgh (2022); Many Minute Attentions, co-curated by Alison Turnbull and John Stezaker, Large Glass (2021); Ikon Gallery, Birmingham (2021); Saicoro, Tokyo (2020); Matt’s Gallery, London (2018); Five Easy Pieces, Large Glass, London; (2017); Turner Contemporary, Margate (2016); De La Warr Pavilion, Bexhill (2014); Talbot Rice Gallery, Edinburgh (2012).
"Enmeshed in infinities, artists and scientists conjure with the universe from within the confines of the human body, under the deadlines imposed by a limited lifespan.", writes Dava Sobel (author of Longitude) in her accompanying text. "They apply mathematics and imagination. They detect tremors emanating from collisions between the most massive dying stars. They hear the music of the spheres."
Emma McNally’s meticulous drawings suggest maps or charts of things as complex and various as seas, the night sky, military bases, computer circuit boards, flight paths. "For me drawing is a rhythmic material sounding of inseparability. ‘Song X’ series is staying with the trouble of the edge, the border: an attempt at a dynamic reformulation. Maybe forever (always, all ways) abides in the scrambling of the idea of the edge, which is to say, in borderlessness, inseparability, indeterminacy, entanglement, rhythm, deep field."
Alison Turnbull's expansive painting series 'eXtreme Deep Field' derives from a composite astronomical image made using the Hubble Space Telescope, eXtreme Deep Field. For Turnbull the Hubble image, has a strong relationship with painting: "It’s a picture of time that is very densely constructed; if you looked out through a telescope you would never actually see this, and it moves photography far beyond the question of analogue or digital… Here the notion of the 'onement' of painting is set against the infinity of the image."
Emma McNally (b. 1969, Essex) lives and works in London. McNally studied Philosophy and Literature at the University of York before continuing her thinking visually through drawing. Recent group and solo exhibitions include: The Drawing Room, London, UK (2024); ‘Afterness’, Artangel / National Trust, Orford Ness, UK (2021); 20th Biennale of Sydney, AU (2016) and ‘The form of the Form’; Lisbon Architecture Triennale (2016); ‘Mirrorcity’, Hayward Gallery, London, UK (2015); ‘Seeing/Knowing’, Kenyon College of Liberal Arts, Ohio, US (2011).
Alison Turnbull, (b. 1956, Bogotá, Colombia) lives and works in London. Turnbull transforms readymade information – plans, diagrams, blueprints, charts – into abstract paintings. Selected solo and group exhibitions include Casas Riegner, Bogotá (2025); Inverleith House, Edinburgh (2022); Many Minute Attentions, co-curated by Alison Turnbull and John Stezaker, Large Glass (2021); Ikon Gallery, Birmingham (2021); Saicoro, Tokyo (2020); Matt’s Gallery, London (2018); Five Easy Pieces, Large Glass, London; (2017); Turner Contemporary, Margate (2016); De La Warr Pavilion, Bexhill (2014); Talbot Rice Gallery, Edinburgh (2012).
Emma McNally
Alison Turnbull
Enquiries
sales: Charlotte Schepke
info: Gabrielle Slack-Smith
Exhibition Text
‘The Edge of Forever’, Dava Sobel, June 2025
Alison Turnbull
Enquiries
sales: Charlotte Schepke
info: Gabrielle Slack-Smith
Exhibition Text
‘The Edge of Forever’, Dava Sobel, June 2025
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The Photography Show presented by AIPAD 2025
24 – 27 April 2025
Preview Day 23 April (invitation only)
Booth B11
Park Avenue Amory
New York City
https://www.aipad.com/show
For the Photography Show in New York, in April we will show Guido Guidi’s work in a collection entitled the Vernacular - capturing his brilliant visualising of the everyday.
In an interview in 2015, published in Aperture Magazine (220), Guidi was asked about his sense for the vernacular which he shares with the American artist photographer, Lee Friedlander’s work, “I remember that I had seen Friedlander’s name in Ugo Mulas’s photobook New York: The New Art Scene (1967). As soon as Friedlander’s Self Portrait came out in 1970, I bought it, but it was only on the occasion of the lone photography biennial, Venice ’79, that I was able to meet him. That was when I heard him talk about the vernacular. He said he wasn’t interested in art photography, but in the vernacular photograph, in the snapshot. I could relate to this, of course, since I had grown up with the family photographs shot by my uncle, who had them printed at the photography store before gluing them into an album.”
Alongside Guidi we show ‘Coast to Coast’, by Swedish photographer Gerry Johansson. This portfolio comprises 10 gelatin silver contact prints, produced by Imagebeeld Edition, Brussels. The photographs were taken during a coast-to-coast long trip in 1983 beginning in Los Angeles and ending in New York.
In an interview in 2015, published in Aperture Magazine (220), Guidi was asked about his sense for the vernacular which he shares with the American artist photographer, Lee Friedlander’s work, “I remember that I had seen Friedlander’s name in Ugo Mulas’s photobook New York: The New Art Scene (1967). As soon as Friedlander’s Self Portrait came out in 1970, I bought it, but it was only on the occasion of the lone photography biennial, Venice ’79, that I was able to meet him. That was when I heard him talk about the vernacular. He said he wasn’t interested in art photography, but in the vernacular photograph, in the snapshot. I could relate to this, of course, since I had grown up with the family photographs shot by my uncle, who had them printed at the photography store before gluing them into an album.”
Alongside Guidi we show ‘Coast to Coast’, by Swedish photographer Gerry Johansson. This portfolio comprises 10 gelatin silver contact prints, produced by Imagebeeld Edition, Brussels. The photographs were taken during a coast-to-coast long trip in 1983 beginning in Los Angeles and ending in New York.
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Mario Cresci:
Geometries / Epiphanies
14 Mar—24 May 2025Geometries / Epiphanies is the first exhibition of work by the Italian photographer Mario Cresci (b. 1942) in the UK. The selection shows Cresci’s experimental photography practice, which draws inspiration from Pop Art, Conceptual art and Industrial design, and his long-term artistic project documenting the southern Italian town of Matera.
In the early 1970s, Cresci collaborated with the interdisciplinary research group Polis to produce an urban study of Tricarico, a village close to Matera, the territory had become a symbol of southern Italian ‘backwardness’ in the years following the publication of Carlo Levi’s memoir ‘Cristo si è fermato a Eboli’. Cresci was encouraged to use his camera to open dialogues with local residents and give them an opportunity to represent themselves through their histories and traditions, such as farming and craftsmanship. The project resulted in a series of images that continue to be influential in Cresci’s artistic practice to this day. During his many years in Matera, Cresci focused on the region’s material culture, particularly the objects crafted by local artisans, such as tools and hand-carved wooden toys, which the artist interpreted as a portal to the town’s culture, memory, and sentiment.
Cresci also developed his experimental photography techniques in work outside of Matera. In 1968 the artist moved to Rome, where the L’Attico gallery commissioned him to photograph exhibitions of leading figures in the Italian art scene at the time, including Pino Pascali, Jannis Kounellis, Eliseo Mattiacci, Michelangelo Pistoletto, and Alighiero Boetti. Here he developed the conviction that photography could no longer be simply exhibited by hanging it on a wall.
Many artists have sought to push photographic language beyond its "traditional" boundaries by engaging with conceptual art and experimentation and in Cresci’s case, he has found new technological alphabets while staying deeply connected to the nature and culture of places—though never in a didactic way. His vision always holds a spark that surprises us and which is capable of offering true epiphanies.
Luca Fiore is a writer, critic and curator of photography based in Milan, Italy. He is a regular contributor to Aperture, Il Foglio, Domani, Il Giornale dell’Arte and Tracce. He curated the exhibition ‘Mon cher Abbé Bionaz! Mario Cresci for the Aosta Valley’, at Museo Castello Gamba in Châtillon in 2023.
In the early 1970s, Cresci collaborated with the interdisciplinary research group Polis to produce an urban study of Tricarico, a village close to Matera, the territory had become a symbol of southern Italian ‘backwardness’ in the years following the publication of Carlo Levi’s memoir ‘Cristo si è fermato a Eboli’. Cresci was encouraged to use his camera to open dialogues with local residents and give them an opportunity to represent themselves through their histories and traditions, such as farming and craftsmanship. The project resulted in a series of images that continue to be influential in Cresci’s artistic practice to this day. During his many years in Matera, Cresci focused on the region’s material culture, particularly the objects crafted by local artisans, such as tools and hand-carved wooden toys, which the artist interpreted as a portal to the town’s culture, memory, and sentiment.
Cresci also developed his experimental photography techniques in work outside of Matera. In 1968 the artist moved to Rome, where the L’Attico gallery commissioned him to photograph exhibitions of leading figures in the Italian art scene at the time, including Pino Pascali, Jannis Kounellis, Eliseo Mattiacci, Michelangelo Pistoletto, and Alighiero Boetti. Here he developed the conviction that photography could no longer be simply exhibited by hanging it on a wall.
Many artists have sought to push photographic language beyond its "traditional" boundaries by engaging with conceptual art and experimentation and in Cresci’s case, he has found new technological alphabets while staying deeply connected to the nature and culture of places—though never in a didactic way. His vision always holds a spark that surprises us and which is capable of offering true epiphanies.
Luca Fiore is a writer, critic and curator of photography based in Milan, Italy. He is a regular contributor to Aperture, Il Foglio, Domani, Il Giornale dell’Arte and Tracce. He curated the exhibition ‘Mon cher Abbé Bionaz! Mario Cresci for the Aosta Valley’, at Museo Castello Gamba in Châtillon in 2023.
Mario Cresci
Enquiries
press: Sam Talbot PR
sales: Charlotte Schepke
info: Large Glass
Press
The Guardian: ‘Mario Cresci review: - mind bending tricks from an iconoclast’, Charlotte Jansen, 18 March 2025
Art Monthly No. 486: Review, ‘Mario Cresci Geometries / Epiphanies, Andrew Chesher, May 2025
Financial Times Magazine: ‘Gallery, Mario Cresci’, Josh Lustig, May 17 2025
The Brooklyn Rail: ‘Artseen, Mario Cresci: Geometries / Epiphanies’, Bartolomeo Sala, May 2025
Exhibition Text
‘Geometries/Epiphanies: Mario Cresci’, Luca Fiore, 14 Mar 2025
Enquiries
press: Sam Talbot PR
sales: Charlotte Schepke
info: Large Glass
Press
The Guardian: ‘Mario Cresci review: - mind bending tricks from an iconoclast’, Charlotte Jansen, 18 March 2025
Art Monthly No. 486: Review, ‘Mario Cresci Geometries / Epiphanies, Andrew Chesher, May 2025
Financial Times Magazine: ‘Gallery, Mario Cresci’, Josh Lustig, May 17 2025
The Brooklyn Rail: ‘Artseen, Mario Cresci: Geometries / Epiphanies’, Bartolomeo Sala, May 2025
Exhibition Text
‘Geometries/Epiphanies: Mario Cresci’, Luca Fiore, 14 Mar 2025
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Hélène Binet: Oscillations
from Villa Saraceno to Lunuganga Garden
6 Dec—31 Jan 2025Oscillations is Hélène Binet’s second solo show at Large Glass. A newly commissioned text by Emily LaBarge accompanies the exhibition, an excerpt of which below:
There are lines straight and curved, sometimes both, or indeterminate, bulging here only to pursue an even course there, or take a gentle slope, or turn a corner, or overlap with other lines and shapes, straights and narrows, to form composite configurations, or breaking off here and there and then passing out of the frame somewhere into the distance where they may or may not continue, up or down, rounded or even, you choose. There is light and dark and lighter and darker and lightest and darkest, because, after all, this is what photography consists of, along with time and its passage — an eternal oscillation that shapes how and what we see.
A view inside a view, a door inside a door, a column behind a column behind a column bisecting an elegant arched doorway, exacting Renaissance proportions, sightlines from one side of a Palazzo to another, and then the other side to the other, as if presenting apertures within apertures for the aperture of the camera to close upon and seize. In Hélène Binet’s work, repetition, rhythm, sequence, and seriality are the order of the day, none of which are possible without the passage of time — and with it, light, ever the photographer’s loyal source. She refers to her projects, most of which take place in specific architectural locations, as essays, the form that is, in its best iterations, famously mobile, intuitive, wayward, proceeding slowly, with curiosity, according to a perceived logic that cannot be forced or quickened. It is, in short, akin to looking, hard, carefully, again and again, and waiting to see what happens.
Emily LaBarge is a Canadian writer based in London. She is a regular contributor to the New York Times and 4Columns. Her first book, Dog Days, will be published in the UK by Peninsula Press in 2025.
There are lines straight and curved, sometimes both, or indeterminate, bulging here only to pursue an even course there, or take a gentle slope, or turn a corner, or overlap with other lines and shapes, straights and narrows, to form composite configurations, or breaking off here and there and then passing out of the frame somewhere into the distance where they may or may not continue, up or down, rounded or even, you choose. There is light and dark and lighter and darker and lightest and darkest, because, after all, this is what photography consists of, along with time and its passage — an eternal oscillation that shapes how and what we see.
A view inside a view, a door inside a door, a column behind a column behind a column bisecting an elegant arched doorway, exacting Renaissance proportions, sightlines from one side of a Palazzo to another, and then the other side to the other, as if presenting apertures within apertures for the aperture of the camera to close upon and seize. In Hélène Binet’s work, repetition, rhythm, sequence, and seriality are the order of the day, none of which are possible without the passage of time — and with it, light, ever the photographer’s loyal source. She refers to her projects, most of which take place in specific architectural locations, as essays, the form that is, in its best iterations, famously mobile, intuitive, wayward, proceeding slowly, with curiosity, according to a perceived logic that cannot be forced or quickened. It is, in short, akin to looking, hard, carefully, again and again, and waiting to see what happens.
Emily LaBarge is a Canadian writer based in London. She is a regular contributor to the New York Times and 4Columns. Her first book, Dog Days, will be published in the UK by Peninsula Press in 2025.