“Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be.”

In Qiuxiang Liu’s world, the body breathes like a landscape—wild, erotic, and endlessly transforming. Born in China and now based in London, Liu (also known as Rainy Tong) paints through the lens of queer ecology, where desire and decay coexist in tender defiance. Her canvases, saturated with the rhythm of the seasons, dissolve boundaries between self and nature, intimacy and violence, beauty and rot. The female form in her work is not an object of gaze but a vessel of love a

For years many people have visited galleries and exhibitions to view artwork, but has an increase in technology changed the way people view art? With more and more galleries hosting online exhibitions and an increase in digital art is there still a need for in person exhibitions or are we simply redefining what it means to “be there”? A new way to look at art: Over the last 10 years, and especially since COVID, our relationship with art has changed. People no longer need to b

Part one of this series explored the role of art in encouraging an active  awareness of the ecological crisis, but surmised rather pessimistically that environmental art often falls short. Whilst encouraging an underlying ethic of eco-art can help prevent mindless institutional greenwashing, placing undue pressure on any particular piece for not doing will not exactly lead anywhere. During a time of global ecological, political, and social turmoil, it can feel futile to dedic