Katrīna Tračuma’s “and yet a trace of the true self exists in the false self” unpacks the “Circle of Life” meme as a cyclical evolution story—comic, bleak, and strangely tender. The series visualises a modern domestic dinosaur, linking present life to ancestral death, from dino nuggets to wrapped flesh.
In Pre-Mobile Era, John Murray considers the human–phone relationship as something symbiotic: we’re attached to our phones, and they’re attached to us. Through drawing and painting, the series records this mutual dependence, anchored by a study of an office secretary from the pre-mobile age.
Lucy Lambe explores censorship and iconoclasm as anxieties about art’s power—how images provoke fear, moral policing, and institutional control. From Michelangelo’s censored nudes to contemporary interventions, the essay argues that restricting art denies its role as mirror, catalyst, and force for change.
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