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Thrilled to announce the London salon, Between Two Worlds: Photography’s Unfixed Future. presented by ICA, WePresent and The Messy Truth.

Saturday 31st Jan @icalondon

The salon brings together leading voices and image-makers to explore what contemporary photography is today and what we want it to be. Line up includes Rene Matic, Elle Pérez, Jack Davison, Hanna Moon, Ronan McKenzie, Bruno Ceschel, Lillian Wilkie, Brian Paul Lamotte & Emily Keegin.

Ticket’s available now, included discounted tickets for students/Under 25.
Link in bio.

Big love to @rene.matic @elleperex @jackdavisonphoto @hannamoon69 @ronanksm @emily_elsie @lillianwilkie @brianpaullamotte @brunoceschel @hannahgeddes1 and the teams @wepresent @icalondon for making this happen! Image by Rene Matic

As I approach the 100th episode of The Messy Truth Podcast, I’ve been reflecting on how much photography has shifted since I began the project in 2018. At that time, media was changing, a shift was happening in the artworld—both in how it functions and how young photographers were beginning to infiltrate a space which was previously closed to them—cornerstone publications were disintegrating, the attention economy was peaking, the way information and value circulates was shifting. There were a lot of things happening at the same time. Now, seven years later, photography is rapidly changing again, new challenges have emerged on multiple planes. My hope is that the podcast can be a space to have messy conversations about where we have been and where we might go next. New episodes coming soon!

PETER HUJAR - Greer Lankton @ortuzargallery

It’s been a while since I’ve been so deeply moved by an artists work and the ways in which they speak to it and through it. @devdhunsi latest work Mixed, which was recently exhibited and published by @selfpublishbehappy is an invitation to traverse photographic genres, moving between document, fiction, myth, darkroom interventions and performance, never settling or being pinned down. This is only amplified by the books sequence, which loops, glitches, and contradicts itself, functioning like a labyrinth of ideas and emotions rather than a narrative.

I profiled @devdhunsi for my latest column in @creativereview

It’s been a while since I’ve been so deeply moved by an artists work and the ways in which they speak to it and through it. @devdhunsi latest work Mixed, which was recently exhibited and published by @selfpublishbehappy is an invitation to traverse photographic genres, moving between document, fiction, myth, darkroom interventions and performance, never settling or being pinned down. This is only amplified by the books sequence, which loops, glitches, and contradicts itself, functioning like a labyrinth of ideas and emotions rather than a narrative.

I profiled @devdhunsi for my latest column in @creativereview

It’s been a while since I’ve been so deeply moved by an artists work and the ways in which they speak to it and through it. @devdhunsi latest work Mixed, which was recently exhibited and published by @selfpublishbehappy is an invitation to traverse photographic genres, moving between document, fiction, myth, darkroom interventions and performance, never settling or being pinned down. This is only amplified by the books sequence, which loops, glitches, and contradicts itself, functioning like a labyrinth of ideas and emotions rather than a narrative.

I profiled @devdhunsi for my latest column in @creativereview

It’s been a while since I’ve been so deeply moved by an artists work and the ways in which they speak to it and through it. @devdhunsi latest work Mixed, which was recently exhibited and published by @selfpublishbehappy is an invitation to traverse photographic genres, moving between document, fiction, myth, darkroom interventions and performance, never settling or being pinned down. This is only amplified by the books sequence, which loops, glitches, and contradicts itself, functioning like a labyrinth of ideas and emotions rather than a narrative.

I profiled @devdhunsi for my latest column in @creativereview

It’s been a while since I’ve been so deeply moved by an artists work and the ways in which they speak to it and through it. @devdhunsi latest work Mixed, which was recently exhibited and published by @selfpublishbehappy is an invitation to traverse photographic genres, moving between document, fiction, myth, darkroom interventions and performance, never settling or being pinned down. This is only amplified by the books sequence, which loops, glitches, and contradicts itself, functioning like a labyrinth of ideas and emotions rather than a narrative.

I profiled @devdhunsi for my latest column in @creativereview

I’m looking forward to being in conversation with @lisa_jahovic on Saturday 6th June @flowersgallery to discuss her new work, Soft Interruptions, that explores the subtle, absurd disruptions - small fractures in the ordinary that reveal tension, humour, and the poetic instability of everyday life. RSVP link in stories or on the Flowers website.

In this year’s Peckham 24 in London, Vinca Petersen returned with 'HULALA' – a deeply personal exploration of home, collectivity, and starting again – curated by Gem Fletcher.

Approaching her 50th birthday, Petersen set out to reimagine what it means to live differently: building not just a house, but a shared way of life rooted in land, community, creativity, and care. Inspired by Joseph Beuys’ concept of social sculpture, 'HULALA' asks what home could become when freed from ownership and individualism – a place of transformation, shelter, education, and exchange.

Built by many hands – friends, family, villagers, students, and strangers – the home at the centre of the work became both a communal creation and a refuge for all. Through photography and storytelling, Petersen captures the tension between old traditions and new rituals, independence and interdependence, vulnerability and resilience.

@vincapetersen @gemfletcher @peckham24photo #VincaPetersen #Peckham24

__
Vinca Petersen, HULALA, installation views, Peckham 24, London, UK, 2026. © Vinca Petersen. Courtesy the artist and Peckham24. Photos by @deniz_gps.

In this year’s Peckham 24 in London, Vinca Petersen returned with 'HULALA' – a deeply personal exploration of home, collectivity, and starting again – curated by Gem Fletcher.

Approaching her 50th birthday, Petersen set out to reimagine what it means to live differently: building not just a house, but a shared way of life rooted in land, community, creativity, and care. Inspired by Joseph Beuys’ concept of social sculpture, 'HULALA' asks what home could become when freed from ownership and individualism – a place of transformation, shelter, education, and exchange.

Built by many hands – friends, family, villagers, students, and strangers – the home at the centre of the work became both a communal creation and a refuge for all. Through photography and storytelling, Petersen captures the tension between old traditions and new rituals, independence and interdependence, vulnerability and resilience.

@vincapetersen @gemfletcher @peckham24photo #VincaPetersen #Peckham24

__
Vinca Petersen, HULALA, installation views, Peckham 24, London, UK, 2026. © Vinca Petersen. Courtesy the artist and Peckham24. Photos by @deniz_gps.

In this year’s Peckham 24 in London, Vinca Petersen returned with 'HULALA' – a deeply personal exploration of home, collectivity, and starting again – curated by Gem Fletcher.

Approaching her 50th birthday, Petersen set out to reimagine what it means to live differently: building not just a house, but a shared way of life rooted in land, community, creativity, and care. Inspired by Joseph Beuys’ concept of social sculpture, 'HULALA' asks what home could become when freed from ownership and individualism – a place of transformation, shelter, education, and exchange.

Built by many hands – friends, family, villagers, students, and strangers – the home at the centre of the work became both a communal creation and a refuge for all. Through photography and storytelling, Petersen captures the tension between old traditions and new rituals, independence and interdependence, vulnerability and resilience.

@vincapetersen @gemfletcher @peckham24photo #VincaPetersen #Peckham24

__
Vinca Petersen, HULALA, installation views, Peckham 24, London, UK, 2026. © Vinca Petersen. Courtesy the artist and Peckham24. Photos by @deniz_gps.

In this year’s Peckham 24 in London, Vinca Petersen returned with 'HULALA' – a deeply personal exploration of home, collectivity, and starting again – curated by Gem Fletcher.

Approaching her 50th birthday, Petersen set out to reimagine what it means to live differently: building not just a house, but a shared way of life rooted in land, community, creativity, and care. Inspired by Joseph Beuys’ concept of social sculpture, 'HULALA' asks what home could become when freed from ownership and individualism – a place of transformation, shelter, education, and exchange.

Built by many hands – friends, family, villagers, students, and strangers – the home at the centre of the work became both a communal creation and a refuge for all. Through photography and storytelling, Petersen captures the tension between old traditions and new rituals, independence and interdependence, vulnerability and resilience.

@vincapetersen @gemfletcher @peckham24photo #VincaPetersen #Peckham24

__
Vinca Petersen, HULALA, installation views, Peckham 24, London, UK, 2026. © Vinca Petersen. Courtesy the artist and Peckham24. Photos by @deniz_gps.

In this year’s Peckham 24 in London, Vinca Petersen returned with 'HULALA' – a deeply personal exploration of home, collectivity, and starting again – curated by Gem Fletcher.

Approaching her 50th birthday, Petersen set out to reimagine what it means to live differently: building not just a house, but a shared way of life rooted in land, community, creativity, and care. Inspired by Joseph Beuys’ concept of social sculpture, 'HULALA' asks what home could become when freed from ownership and individualism – a place of transformation, shelter, education, and exchange.

Built by many hands – friends, family, villagers, students, and strangers – the home at the centre of the work became both a communal creation and a refuge for all. Through photography and storytelling, Petersen captures the tension between old traditions and new rituals, independence and interdependence, vulnerability and resilience.

@vincapetersen @gemfletcher @peckham24photo #VincaPetersen #Peckham24

__
Vinca Petersen, HULALA, installation views, Peckham 24, London, UK, 2026. © Vinca Petersen. Courtesy the artist and Peckham24. Photos by @deniz_gps.

NEW EPISODE of The Messy Truth podcast: I chat to Ahndraya Parlato about her latest book, TIME TO KILL an interrogation of gendered aging, unpacking the ideals of beauty, caretaking, and maternal and domestic duty imposed on women over the course of their lives. In our roving conversation we keep returning to the the inbetween, the murky - this subversive space with many questions but few answers, where you embrace the complexity rather than tidy it up. Episode available now on Apple Podcasts, Spotify and Acast. @ahndraya_parlato

NEW EPISODE of The Messy Truth podcast: I chat to Ahndraya Parlato about her latest book, TIME TO KILL an interrogation of gendered aging, unpacking the ideals of beauty, caretaking, and maternal and domestic duty imposed on women over the course of their lives. In our roving conversation we keep returning to the the inbetween, the murky - this subversive space with many questions but few answers, where you embrace the complexity rather than tidy it up. Episode available now on Apple Podcasts, Spotify and Acast. @ahndraya_parlato

NEW EPISODE of The Messy Truth podcast: I chat to Ahndraya Parlato about her latest book, TIME TO KILL an interrogation of gendered aging, unpacking the ideals of beauty, caretaking, and maternal and domestic duty imposed on women over the course of their lives. In our roving conversation we keep returning to the the inbetween, the murky - this subversive space with many questions but few answers, where you embrace the complexity rather than tidy it up. Episode available now on Apple Podcasts, Spotify and Acast. @ahndraya_parlato

“Virgin Mary fucked up the image of motherhood.”
 
The trailblazing artist Catherine Opie (@csopie ) is widely known for her intimate portraits which capture queer realities and families since the 1970s.
 
In this exclusive interview, and on the occasion of Mother’s Day, writer and podcaster Gem Fletcher (@gemfletcher ) discusses with her the image(s) of motherhood and which role children play in her work.
 
Read the full article via the link in bio!
 
Image credits in order of post:
1. Self-Portrait / Nursing 2004 © Catherine Opie
2. Catherine, Melanie & Sadie Rain, New York, New York 1998 
© Catherine Opie
3. Miggi & Ilene, Los Angeles, California 1995 © Catherine Opie
4. Oliver in a Tutu 2004 © Catherine Opie
5. Jesse, 1995 © Catherine Opie
6. Self-Portrait / Cutting 1993 © Catherine Opie

“Virgin Mary fucked up the image of motherhood.”
 
The trailblazing artist Catherine Opie (@csopie ) is widely known for her intimate portraits which capture queer realities and families since the 1970s.
 
In this exclusive interview, and on the occasion of Mother’s Day, writer and podcaster Gem Fletcher (@gemfletcher ) discusses with her the image(s) of motherhood and which role children play in her work.
 
Read the full article via the link in bio!
 
Image credits in order of post:
1. Self-Portrait / Nursing 2004 © Catherine Opie
2. Catherine, Melanie & Sadie Rain, New York, New York 1998 
© Catherine Opie
3. Miggi & Ilene, Los Angeles, California 1995 © Catherine Opie
4. Oliver in a Tutu 2004 © Catherine Opie
5. Jesse, 1995 © Catherine Opie
6. Self-Portrait / Cutting 1993 © Catherine Opie

“Virgin Mary fucked up the image of motherhood.”
 
The trailblazing artist Catherine Opie (@csopie ) is widely known for her intimate portraits which capture queer realities and families since the 1970s.
 
In this exclusive interview, and on the occasion of Mother’s Day, writer and podcaster Gem Fletcher (@gemfletcher ) discusses with her the image(s) of motherhood and which role children play in her work.
 
Read the full article via the link in bio!
 
Image credits in order of post:
1. Self-Portrait / Nursing 2004 © Catherine Opie
2. Catherine, Melanie & Sadie Rain, New York, New York 1998 
© Catherine Opie
3. Miggi & Ilene, Los Angeles, California 1995 © Catherine Opie
4. Oliver in a Tutu 2004 © Catherine Opie
5. Jesse, 1995 © Catherine Opie
6. Self-Portrait / Cutting 1993 © Catherine Opie

“Virgin Mary fucked up the image of motherhood.”
 
The trailblazing artist Catherine Opie (@csopie ) is widely known for her intimate portraits which capture queer realities and families since the 1970s.
 
In this exclusive interview, and on the occasion of Mother’s Day, writer and podcaster Gem Fletcher (@gemfletcher ) discusses with her the image(s) of motherhood and which role children play in her work.
 
Read the full article via the link in bio!
 
Image credits in order of post:
1. Self-Portrait / Nursing 2004 © Catherine Opie
2. Catherine, Melanie & Sadie Rain, New York, New York 1998 
© Catherine Opie
3. Miggi & Ilene, Los Angeles, California 1995 © Catherine Opie
4. Oliver in a Tutu 2004 © Catherine Opie
5. Jesse, 1995 © Catherine Opie
6. Self-Portrait / Cutting 1993 © Catherine Opie

“Virgin Mary fucked up the image of motherhood.”
 
The trailblazing artist Catherine Opie (@csopie ) is widely known for her intimate portraits which capture queer realities and families since the 1970s.
 
In this exclusive interview, and on the occasion of Mother’s Day, writer and podcaster Gem Fletcher (@gemfletcher ) discusses with her the image(s) of motherhood and which role children play in her work.
 
Read the full article via the link in bio!
 
Image credits in order of post:
1. Self-Portrait / Nursing 2004 © Catherine Opie
2. Catherine, Melanie & Sadie Rain, New York, New York 1998 
© Catherine Opie
3. Miggi & Ilene, Los Angeles, California 1995 © Catherine Opie
4. Oliver in a Tutu 2004 © Catherine Opie
5. Jesse, 1995 © Catherine Opie
6. Self-Portrait / Cutting 1993 © Catherine Opie

“Virgin Mary fucked up the image of motherhood.”
 
The trailblazing artist Catherine Opie (@csopie ) is widely known for her intimate portraits which capture queer realities and families since the 1970s.
 
In this exclusive interview, and on the occasion of Mother’s Day, writer and podcaster Gem Fletcher (@gemfletcher ) discusses with her the image(s) of motherhood and which role children play in her work.
 
Read the full article via the link in bio!
 
Image credits in order of post:
1. Self-Portrait / Nursing 2004 © Catherine Opie
2. Catherine, Melanie & Sadie Rain, New York, New York 1998 
© Catherine Opie
3. Miggi & Ilene, Los Angeles, California 1995 © Catherine Opie
4. Oliver in a Tutu 2004 © Catherine Opie
5. Jesse, 1995 © Catherine Opie
6. Self-Portrait / Cutting 1993 © Catherine Opie

“Virgin Mary fucked up the image of motherhood.”
 
The trailblazing artist Catherine Opie (@csopie ) is widely known for her intimate portraits which capture queer realities and families since the 1970s.
 
In this exclusive interview, and on the occasion of Mother’s Day, writer and podcaster Gem Fletcher (@gemfletcher ) discusses with her the image(s) of motherhood and which role children play in her work.
 
Read the full article via the link in bio!
 
Image credits in order of post:
1. Self-Portrait / Nursing 2004 © Catherine Opie
2. Catherine, Melanie & Sadie Rain, New York, New York 1998 
© Catherine Opie
3. Miggi & Ilene, Los Angeles, California 1995 © Catherine Opie
4. Oliver in a Tutu 2004 © Catherine Opie
5. Jesse, 1995 © Catherine Opie
6. Self-Portrait / Cutting 1993 © Catherine Opie

“Virgin Mary fucked up the image of motherhood.”
 
The trailblazing artist Catherine Opie (@csopie ) is widely known for her intimate portraits which capture queer realities and families since the 1970s.
 
In this exclusive interview, and on the occasion of Mother’s Day, writer and podcaster Gem Fletcher (@gemfletcher ) discusses with her the image(s) of motherhood and which role children play in her work.
 
Read the full article via the link in bio!
 
Image credits in order of post:
1. Self-Portrait / Nursing 2004 © Catherine Opie
2. Catherine, Melanie & Sadie Rain, New York, New York 1998 
© Catherine Opie
3. Miggi & Ilene, Los Angeles, California 1995 © Catherine Opie
4. Oliver in a Tutu 2004 © Catherine Opie
5. Jesse, 1995 © Catherine Opie
6. Self-Portrait / Cutting 1993 © Catherine Opie

“Virgin Mary fucked up the image of motherhood.”
 
The trailblazing artist Catherine Opie (@csopie ) is widely known for her intimate portraits which capture queer realities and families since the 1970s.
 
In this exclusive interview, and on the occasion of Mother’s Day, writer and podcaster Gem Fletcher (@gemfletcher ) discusses with her the image(s) of motherhood and which role children play in her work.
 
Read the full article via the link in bio!
 
Image credits in order of post:
1. Self-Portrait / Nursing 2004 © Catherine Opie
2. Catherine, Melanie & Sadie Rain, New York, New York 1998 
© Catherine Opie
3. Miggi & Ilene, Los Angeles, California 1995 © Catherine Opie
4. Oliver in a Tutu 2004 © Catherine Opie
5. Jesse, 1995 © Catherine Opie
6. Self-Portrait / Cutting 1993 © Catherine Opie

“Virgin Mary fucked up the image of motherhood.”
 
The trailblazing artist Catherine Opie (@csopie ) is widely known for her intimate portraits which capture queer realities and families since the 1970s.
 
In this exclusive interview, and on the occasion of Mother’s Day, writer and podcaster Gem Fletcher (@gemfletcher ) discusses with her the image(s) of motherhood and which role children play in her work.
 
Read the full article via the link in bio!
 
Image credits in order of post:
1. Self-Portrait / Nursing 2004 © Catherine Opie
2. Catherine, Melanie & Sadie Rain, New York, New York 1998 
© Catherine Opie
3. Miggi & Ilene, Los Angeles, California 1995 © Catherine Opie
4. Oliver in a Tutu 2004 © Catherine Opie
5. Jesse, 1995 © Catherine Opie
6. Self-Portrait / Cutting 1993 © Catherine Opie

“Virgin Mary fucked up the image of motherhood.”
 
The trailblazing artist Catherine Opie (@csopie ) is widely known for her intimate portraits which capture queer realities and families since the 1970s.
 
In this exclusive interview, and on the occasion of Mother’s Day, writer and podcaster Gem Fletcher (@gemfletcher ) discusses with her the image(s) of motherhood and which role children play in her work.
 
Read the full article via the link in bio!
 
Image credits in order of post:
1. Self-Portrait / Nursing 2004 © Catherine Opie
2. Catherine, Melanie & Sadie Rain, New York, New York 1998 
© Catherine Opie
3. Miggi & Ilene, Los Angeles, California 1995 © Catherine Opie
4. Oliver in a Tutu 2004 © Catherine Opie
5. Jesse, 1995 © Catherine Opie
6. Self-Portrait / Cutting 1993 © Catherine Opie

The Messy Truth x Peckham 24: Charlotte Cotton
Saturday 16th May at 4PM

Gem Fletcher is joined by curator and writer Charlotte Cotton for a candid conversation about the state of photography institutions and how we might choose to retool them for the future. Can we re-animate the foundations of photography as a cultural arena and build anew? How do we participate in imagining a future that maintains our agency and supports us to make and disseminate visual stories? Is it possible for us to create more expansive practices that support independent thinking and preserve our intellectual properties? How can we cultivate new community standards that support many, rather than a few?

Image by the brilliant @genesis__baez

TICKET LINK IN BIO

@peckham24photo @pimcharlottecotton

The Messy Truth x Peckham 24: Vinca Petersen
Saturday May 16th,2:30pm

Gem Fletcher speaks with artist Vinca Petersen about her new body of work HULALA. Featuring photographs, text and personal ephemera, the project is a multivalent exploration of home and collectivity tracing four years of change and upheaval in which Vinca reimagined her life from scratch, becoming part of the small remote community of Crofters in Skye. HULALA is a sprawling diaristic window into the space between old traditions and new rituals, independence and community and strength and vulnerability. The work, which is on show at Peckham 24, builds upon some of the values in her cult work No System, but from a new perspective - thirty years on in a very different world.

TICKET LINK IN BIO
@peckham24photo@vincapetersen

I’m back at Peckham 24 this year with a series of conversations with radical thinkers and artists. Ticket link in bio or on Peckham24 website.

Session 2: Saturday 16th May, at 12:30am
The Messy Truth x Peckham 24: Cian Oba Smith & Max Ferguson

Gem Fletcher speaks with artists Max Ferguson & Cian Oba Smith about the ways they use photography to unravel ideas around time, space, memory and the scars left behind. The discussion will explore the individual artist’s latest work presented at Peckham 24; Cian’s Among Flowers, Tears and Rain, a documentation of knife violence in London and Max’s The Tower Block, which reflects on the role of The London College of Communication building, that has served thousands of students since its inception.

Slide 1: From Among Flowers, Tears and Rain by Cian Oba Smith
Slide 2: From The Tower Block by Max Ferguson

TICKET LINK IN BIO

@maxferguson @cianobasmith @peckham24photo

I’m back at Peckham 24 this year with a series of conversations with radical thinkers and artists. Ticket link in bio or on Peckham24 website.

Session 2: Saturday 16th May, at 12:30am
The Messy Truth x Peckham 24: Cian Oba Smith & Max Ferguson

Gem Fletcher speaks with artists Max Ferguson & Cian Oba Smith about the ways they use photography to unravel ideas around time, space, memory and the scars left behind. The discussion will explore the individual artist’s latest work presented at Peckham 24; Cian’s Among Flowers, Tears and Rain, a documentation of knife violence in London and Max’s The Tower Block, which reflects on the role of The London College of Communication building, that has served thousands of students since its inception.

Slide 1: From Among Flowers, Tears and Rain by Cian Oba Smith
Slide 2: From The Tower Block by Max Ferguson

TICKET LINK IN BIO

@maxferguson @cianobasmith @peckham24photo

I’m back at Peckham 24 this year with a series of conversations with radical thinkers and artists.

The Messy Truth x Peckham 24: Amelia Abraham & Bernice Mulenga
Session 1: Saturday 16th May, at 11am
I’m thrilled to speak to artist Bernice Mulenga and author Amelia Abraham about the ways in which photography intersects with pleasure, politics, and protest in Queer nightlife. The talk will explore the connections between #friendsonfilm, Bernice’s ten year project documenting the people who shape contemporary LGBTQ+ BIPOC dancefloors and Amelia’s latest book Sex, Clubs, Dissent: Visualising Queer Nightlife which charts an expansive visual history of queer nightlife. Together they will discuss the ways in which Queer artists, past and present, have been informed by the dancefloor and used it to dream new modes of being into existence.

Slide 1: Bernice Mulenga, Priince & Majeesty, 2021, fromSex,Clubs, Dissent: Visualising Queer Nightlife by Amelia Abraham (MACK, 2026). Courtesy of the artist and MACK.

Slide 2: Linda Simpson, Linda Simpson, Gillian, Honey Dijon,and Candis Cayne at Wigstock at the Palladium, 1995,from Sex, Clubs, Dissent: Visualising Queer Nightlife by Amelia Abraham (MACK, 2026). Courtesy of the artist and MACK.

@amelia_abraham @bernice.mulenga @peckham24photo

TICKET LINK IN BIO

I’m back at Peckham 24 this year with a series of conversations with radical thinkers and artists.

The Messy Truth x Peckham 24: Amelia Abraham & Bernice Mulenga
Session 1: Saturday 16th May, at 11am
I’m thrilled to speak to artist Bernice Mulenga and author Amelia Abraham about the ways in which photography intersects with pleasure, politics, and protest in Queer nightlife. The talk will explore the connections between #friendsonfilm, Bernice’s ten year project documenting the people who shape contemporary LGBTQ+ BIPOC dancefloors and Amelia’s latest book Sex, Clubs, Dissent: Visualising Queer Nightlife which charts an expansive visual history of queer nightlife. Together they will discuss the ways in which Queer artists, past and present, have been informed by the dancefloor and used it to dream new modes of being into existence.

Slide 1: Bernice Mulenga, Priince & Majeesty, 2021, fromSex,Clubs, Dissent: Visualising Queer Nightlife by Amelia Abraham (MACK, 2026). Courtesy of the artist and MACK.

Slide 2: Linda Simpson, Linda Simpson, Gillian, Honey Dijon,and Candis Cayne at Wigstock at the Palladium, 1995,from Sex, Clubs, Dissent: Visualising Queer Nightlife by Amelia Abraham (MACK, 2026). Courtesy of the artist and MACK.

@amelia_abraham @bernice.mulenga @peckham24photo

TICKET LINK IN BIO