Antigone Revisited

Richard Malone
Scarlett Pochet

MARCELLE JOSEPH (b. United States) is an American independent curator and collector based in the United Kingdom. In 2011, Joseph founded Marcelle Joseph Projects, a nomadic curatorial platform that has produced over 45 exhibitions in the UK and the rest of Europe, featuring the work of over 300 international artists. Joseph holds an MA in Art History with Distinction from Birkbeck, University of London with a specialization in feminist art practice. Her curatorial work focuses on gender and the performative construction of identity with an emphasis on material-led artistic practices. Joseph is the executive editor of Korean Art: The Power of Now (Thames & Hudson, 2013). Additionally, in London, Joseph is the Vice Chair of the Board of Trustees of Mimosa House (since 2021), an Ambassador of the Royal Academy Schools (since 2010), a member of the Advisory Council of the Eye of the Collector, an alternative art fair (since 2024), and a member of the Selection Panel of PLOP Residency (since 2019). She served as a trustee of Matt’s Gallery in London from 2018-2022 and served on the jury of the 2017-2019 Max Mara Art Prize for Women, in collaboration with the Whitechapel Gallery and Collezione Maramotti, and the Mother Art Prize 2018. She also collects artworks by female-identifying artists under the collecting partnership, GIRLPOWER Collection, as well as more generally as part of the Marcelle Joseph Collection. Since 2022, her collection has been on public display in the UK in two institutional exhibitions co-curated by Joseph, the first at the Rugby Art Gallery & Museum, Rugby (2022) and the second at the Stanley & Audrey Burton Gallery, University of Leeds, Leeds (2023-24). In 2022, Joseph also co-curated her first museum exhibition in the United States at the Institute of Contemporary Art, Los Angeles titled ‘The Condition of Being Addressable’. In 2023, she co-founded the GIRLPOWER Residency in southwestern France, an annual artist residency for female-identifying and non-binary artists.

ALEXI MARSHALL is a Hastings-based artist who graduated from the Slade School of Art in 2018. She works in print, mosaic and embroidery, investigating themes of womanhood, folklore and rebirth. The hand is always present; handmade, hand sewn, hand carved, hand printed, hand bound. The traces it leaves are often visible and embraced. Lines, bodies and worlds fold into each other to create theatrical tableaux, driven by storytelling and otherworldly narrative.

ALICE ANDERSON is an eco-feminist performance artist based in London. She studied femininity and gender at the École Nationale Supérieure des Beaux-Arts, Paris, France and Fine Arts at Goldsmiths, University of London, UK. Anderson has been performing for fifteen years, using the intelligence of the body, alone and collectively, by dancing ‘with’ technological objects of our Anthropocene era to open-up new fields of reflection towards a potential Symbiocene era.

ALICIA RADAGE is a London-based artist who works with sculpture, performance, video, text and sound. They graduated from The Royal Central School of Speech and Drama in London, UK in 2011 with a Distinction in MA Advanced Theatre Practice. Their current research looks at the intersection between neurodiverse experience and animist practice.  Looking to ways of communicating and being outside of neurotypical, late capitalism, Radage is drawn to an animist way of processing the world around them, detecting and deciphering the life forces of the more than human.

ALICIA REYES MCNAMARA is a London-based American artist who spends time between London and Chicago. They completed their MFA at University of Oxford Ruskin School of Art in 2016. Reyes McNamara makes work that meditates on issues of displacement, particularly within a double diaspora. They draw upon both Mexican and Irish (their parent’s cultural heritages) mythology and folklore in order to make work that speaks of navigating gendered and cultural identities and questions how to negotiate the idea of cultural authenticity.

ANNA PERACH is a London-based artist who graduated with an MFA from Goldsmiths, University of London, London, UK (2020). Perach’s practice explores the dynamic between personal and cultural myths. Specifically, Perach is interested in how our private narratives are deeply rooted in ancient folklore and storytelling. In her work, she interweaves female archetypes into sculptural hybrids in order to examine ideas of identity, gender and craft.

ARIANE HELOISE HUGHES is a London-based British artist who graduated with a BA in Painting from Camberwell University, London in 2019. Her paintings are intricate, sensual and absurd. Through processes of objectification, fragmentation and amplification, her paintings hold a mirror to the age of the spectacle, drawing on the ubiquity and farcicality of the digital image and online viewing space.

AYLA DMYTERKO is a Ukrainian-Canadian artist currently based in Glasgow, UK. She was raised on treaty 4 territories, the lands of the Cree, Saulteaux, Dakota, Lakota, Nakoda and Métis peoples in Saskatchewan, Canada. She completed her MFA at Glasgow School of Art, Glasgow, UK after finishing her BFA in Painting at Concordia University, Montréal, Québec, CA. Echoing the fragmentary and porous nature of diasporic imagination, her interdisciplinary practice weaves together remedial forms of painting, moving image, dance, sculpture, textiles and texts.

BECKY TUCKER graduated from the Edinburgh College of Art in 2017 and now lives in Glasgow, UK, working from a studio outside the city. Tucker’s ceramic sculptures could be best described as anachronistic artifacts, historically ambiguous due to the diverse source material they draw from. The mutable nature of symbols plays a strong role as she is interested in images that have been used to signify different things in different cultures.

BETHANY STEAD is a Newcastle-based artist who works between painting, drawing, sculpture and textiles. She is interested in materials that are historically associated with class, gender and sexuality. Through visual storytelling and object making, Stead draws upon iconography, feminist theory, science-fiction, folklore, and allegory, making symbolic spaces that disrupt our fragile and entangled socio-political fabric. Stead graduated with a BFA from Newcastle University in 2019.

CAMILLA HANNEY is a London-based Irish artist working in ceramics, sculpture and installation. She is a graduate of Goldsmiths, University of London’s MFA programme (2017-2019) and also Dun Laoghaire Institute of Art, Design and Technology’s Visual Arts Practice (2010-2015). Working across ceramics, sculpture and installation, Hanney’s practice explores themes of time, sexuality, cultural identity and the corporeal, often referencing the body in both humorous and challenging ways. 

CECILIA CHARLTON is a London-based American artist who received a BFA Painting in 2015 from Hunter College in New York, NY, USA and an MA in Painting from the Royal College of Art, London, UK in 2018. She creates hand-made embroideries and weavings that engage with the formal histories of abstraction to explore a broad range of themes including the cosmos, memory and the subconscious. Through manipulations of geometric pattern and colour, her artworks achieve an optically challenging and playful approach, questioning the hierarchy between painting and textiles.

CHANTAL POWELL is a British artist based in West Dorset, UK. The work of British artist Chantal Powell is made in response to her personal journey into understanding the symbolic language of the unconscious. A PhD in psychology and an ongoing study of Jungian theory and alchemical symbolism inform her practice. Living and working on the Jurassic Coast (West Dorset), Chantal’s practice is inevitably shaped by the elemental cycles and forms spiralling within deep time.

INGRID BERTHON-MOINE is a French artist based in London. In 2017, she completed her MA in Fine Art from Goldsmiths, University of London after graduating from London College of Communication with a BA in Photography in 2009. Her artistic practice, spanning sculpture, drawing, and video, explores the physical and cultural dimensions of the human body. Drawing inspiration from diverse sources such as language, psychoanalysis, and feminism, Berthon-Moine weaves personal narratives into her work, challenging conventional understandings of human experiences like sexuality, illness, and death.

KV DUONG is an ethnically Chinese artist with a transnational background—born in Vietnam, raised in Canada, and now living as a queer person in Britain. He examines the complexities of Vietnamese queer identity, migration and cultural assimilation through personal and familial history. In 2024, Duong completed his MA in Painting at the Royal College of Art in London. During his studies, he created works on latex, highlighting its historical connection to French colonial rubber plantations in Vietnam, while simultaneously embracing its sensuality and symbolic association with the queer experience.

MARIA KONDER is a Brazilian/Portuguese artist who lives and works in London. She graduated with a BA in Fine Arts from Parsons the New School for Design in New York City.  In 2021, she graduated with honours with an MFA in Fine Art from Chelsea College of Arts, UAL in London.  Since then, Konder has completed a postgraduate course in Integrated Movement and Performance Practice at Art Haus Berlin in Germany. Her multidisciplinary practice incorporates drawing, sewing, painting, sculpture, performance and video.

RICHARD MALONE is an Irish visual artist from Wexford, Ireland. Malone’s practice explores ideas of queerness, class, place and otherness through sculpture, installation, drawing, textiles and performance. Malone uses gendered and class-based labour practices to test the limitations of language, gesture and symbolism in constructing meaning and identity, with particular focus on the genderless body and working class or invisible labour.

SCARLETT POCHET is a British artist who graduated from the Slade School of Art, UCL in London with a BA/BFA in 2024. She explore ideas around decay/preservation, protection/vulnerability and embellishment/fashion with regards to the female body, often through a still life lens. Pochet attempts to re-establish new narratives, highlighting the importance of ‘the tale’ and the power of education through storytelling.