Corridor8

'Notably, messages of judgment and damnation are absent from the scripture referenced by Yearwood-Dan. Instead, empathy, radicalism, vulnerability and celebration are centred. Her inclusion of the jazz trumpet amongst choral music, her subversion of solemnity through bling and bright colours and her pointed selection of biblical passages all suggest a desire to reshape the faith in a way that makes space for her own identity. As a Catholic-raised queer woman, Yearwood-Dan’s simultaneous appreciation of the faith and desire to reframe it tracks a profound and prolonged negotiation. At the exhibition opening, Yearwood-Dan tells me that she doesn’t keep a personal diary, but changes in her mood – what she calls her ‘emotional seasons’ – are documented here in her art. Some works are loud and celebratory, with vibrant pinks, yellows and oranges swirling and dancing across canvases studded with golden ceramic ingots and glittering glass beads. Triumphant declarations stretch across them in bold, black marker: ‘AIN’T NO SHAME IN ME’, ‘I’M HERE IN MY BODY, I’M HERE IN MY SKIN’. Others, meanwhile, are more conflicted and vulnerable, composed of darker blue and green tones, sometimes deepening into black, with harsher, more agitated marks, where more vulnerable messages in lowercase appear as whispers, partially obscured or hidden beneath translucent sheets of tracing paper.' @li.lianaaaa_____ reviews @artistandgal 's current exhibition The Practice of Liberation at @whitworthart , open until October this year. Follow the link in our bio to read the full article 🖼️ Images: Michaela Yearwood-Dan, The Practice of Liberation (2026) installation view at the Whitworth © the Whitworth, The University of Manchester. Photographer: Michael Pollard.

'At the centre of the packed room, where the volume of laughter matches the thumping soundtrack, is a standing hexagonal structure of bare MDF and pine frames topped with three projectors pointing inwards. People variously press themselves up and lean down to slot their faces into the cutout ovals spaced randomly around the walls; when someone moves away, I see flashes of blue moving through a hole. A surprise arc of light appears on the gallery wall behind, situating the structure at the centre of a mysterious planetary system.' @jjhlinklater reviews the current exhibition at @the_lowry , Curtain Up, a group exhibition exploring the shared anticipation, heightened emotions, and communal energy of being in an audience. Link in bio for full article. 📷Michael Pollard 1) 'Relic' (2026), Rowland Hill. 2) ‘Spirits Are Matter’ (2026), Ulla von Brandenburg. 3) ‘Give Yourself a Round of Applause’ (2026), Chris Paul Daniels.

'It is tempting to describe these paintings as caught between abstraction and figuration, but that binary feels too simple. Mollasalehi is not hovering uncertainly between two modes. She is using both to withhold the authority of either. Figuration gives the viewer something to recognise, while abstraction prevents recognition from becoming possession. The image offers a point of entry, then complicates the terms of access. This may be why Mollasalehi says her work is received differently in Iran and in the UK. In Iran, viewers may immediately recognise the cypress, the colour relationships, the echoes of miniature painting and architectural ornament. Familiarity produces one kind of understanding. In the UK, where those references are less readily available, viewers often encounter the paintings through their structure, atmosphere and emotional charge before they can name the symbols. "In Iran, they understand the symbols immediately," she says. "Here, they understand the way I express them."' @molliebalshaw of @shortsupplymcr visits @yasaman.mollasalehi in her @islingtonmill studio to explore recent paintings, her move from Tehran to Manchester, symbolism, figuration, process and emotion in 'Sad Music You Can Dance To', the latest article over on our main site. 📸 recent and in-progress paintings, courtesy of the artist. Follow the link in our bio to read the full article.

'The age between 0-3, is a crucial phase in a child’s development. In the early months, they transform rapidly from babes in arms, unable to support themselves unaided, to becoming aware of themselves and their bodies, then others and their surroundings. By the age of three, children are active toddlers able to make choices and assert their fledgling independence. Anyone who has spent any time with a small child will have observed that they are drawn towards the strange, small and humdrum: exactly the type of objects collected by Mary Greg. Babies and toddlers, too, are avid collectors, clinging to found detritus such as sticks, pebbles or discarded bottle tops. In their hands, things are divorced from their use value: anything, in the hands of a child, has the potential for joy, learning and wonder.' @natalie.rose.bradbury reviews Things of the Least at @mcrartgallery , an exhibition that explores and facilitates early years art engagement alongside many of the smallest items from the Mary Greg Collection. 📸 @michaelpollardphotography Follow the link in our bio to read the full article.

'The word ‘Mulatto/a’ is now considered abusive language, but Townsend-Lowcock’s use of this word to map more of the British experience through notions around race, and the history of its theories, highlights the function of language in our own moment. I am thinking especially of the language around migrants and who belongs where, as the fables of mono-culturalism and nativism seemingly reach into every corner and conversation.' @cr_oakes writes on @_ajlt_ 's project 'Enter, Tragic Mulatta' with @the_lowry and @mcrartgallery , looking back at the research and workshops which led to a performance. Follow the link in our bio to read the full text. 📸 Lydia Hooke, @latehoursdesign

‘Four coracles form the exhibition’s spine; tiny boats designed to accommodate a single, lone traveller, and made by Kabir especially for this exhibition at the Hub. They thread from one side of the gallery to the other, often spilling their contents: strings of bells, ropes, fluorescent synthetic yarn extending across the floor, lending a tentacular, ‘sea-creaturely’ feel to the work. One of these boats has a meshwork of red warp threads across its top with a weaving sword (a tool designed to push the weft yarn securely in place) nestled inside. Each little vessel has its own distinct character, and yet this flotilla of coracles feel interconnected, held together by invisible threads. Floating apart, yet tethered together; a metaphor that has deep political purchase elsewhere in Kabir’s work.’ Ruth Charnock explores Raisa Kabir’s new solo exhibition ‘I only dance, I wish we could sing’ at the Hub, Sleaford. Link in bio for the full review. @ruthcharnock @hubsleaford @raisa_kabir_textiles_ @joshua_lockwood__ @juleslisterphotography 1. Installation view of Raisa Kabir ‘I only dance, I wish we could sing’ 2. Raisa Kabir ‘I only dance, I wish we could sing’ (2026) [detail] 3. Raisa Kabir 'Over and Over Again' 2024 All photographs by Jules Lister.

‘Heavy Water Collective’s “Gathering Landscapes: 150 Years of Collecting at Weston Park Museum” and Ryan Mosley’s “When the Day is Done” at Graves Gallery make an unlikely pairing: one a deep excavation of Sheffield Museums’ collections, the other a solo painter’s intimate mythology of figures. That both shows turn out to be preoccupied with the same condition – the position of humans in a world that contains and outlasts them – is either coincidence or something Sheffield is putting in the water.’ Writer Jay Drinkall @bog_myrtle reviews two exhibitions in Sheffield @sheffmuseums : - ‘Gathering Landscapes: 150 Years of Collecting at Weston Park Museum’, on at Weston Park Museum, Sheffield, from 28 November 2025 – 1 November 2026. - ‘When the Day is Done: New Paintings by Ryan Mosley’, on at Graves Gallery, Sheffield, from 26 February – 4 July 2026. Images: 1-3) Installation views of When the Day is Done: New Paintings by Ryan Mosley, Graves Gallery, Sheffield, 2026. Photography: © Sheffield Museums. 4-6) Installation views of Gathering Landscapes: 150 Years of Collecting at Weston Park Museum, Weston Park Museum, Sheffield, 2026. Photography: Jules Lister.

SUBSTACK TIME 🧨 Circularisations: Michael Butterworth’s bold experiment in narrative reduction 'The reduction of the narrative to a series of images cuts out the social niceties of the scene and instead refocuses on the horrific images that are the topic of the conversation. The frame fills with atrocities that clash and vibrate against one another. In a circularisation, the reader is forced to see exactly what a narrative might distance.' We are delighted to publish Tom Dillon's exploration of the experimental techniques of the writer (and our founding editor) Michael Butterworth. Tom Dillon is the Science Fiction Collections Curator at the University of Liverpool. We are really grateful that they have shared their research on this topic that is close to our hearts. If you are not a subscriber please follow the link in our bio and support us. Every subscription helps us to publish exciting articles such as this one and lets us do more on our main website. ☕ The image is courtesy of Michael Butterworth, 1969.

‘Bendigedig’ to be pushing a little further south and west than our usual coverage with a review by Bristol-based Lizzie Lloyd (@_lizzie_lloyd_ ) which is now live! 👀 𝘒𝘦𝘭𝘴𝘦𝘺 𝘊𝘳𝘶𝘻-𝘔𝘢𝘳𝘵𝘪𝘯: 𝘈 𝘚𝘩𝘦𝘭𝘭 𝘚𝘵𝘰𝘰𝘥 𝘧𝘰𝘳 𝘡𝘦𝘳𝘰 @g39artists — in partnership with @cardiffmet @cardiffmetcsad @csad_fineart & @freelandsfoundation 🦪👂✨🏴󠁧󠁢󠁷󠁬󠁳󠁿 “The audio functions to collapse space by speaking as if from a disembodied afar but in close relation to the physical objects before us, like an audio guide stripped of its tone of objective authority in favour of internalised rumination. ‘I’ve been thinking about how so much of the world enters us / through these soft openings’ says the voice (Cruz-Martin’s own) sibilant and crackly; here she is, entering me.” @kelseycruzmartin @rodbrakes 🤳🏻💚 Image 1: ‘Soft Openings / World Receivers’ (2026) installation view at g39, Cardiff. Photo by Dan Weill Image 2: ‘Digital Twin’ (2026) installation view at g39, Cardiff. Photo by Dan Weill

‘Through nurturing exciting emerging artists, Yorkshire Contemporary advances the city’s strong creative ecosystem and builds on the history of provocative and pioneering artists who have trained, created and exhibited in Leeds.' Farah Dailami explores Yorkshire Contemporary's artist development programme Practice: Leeds, speaking to the three artists – Matilya Njau, Rhian Cooke and Thahmina Begum – who made up the most recent cohort. Link in the bio to read the full piece ✨ @yorkshirecontemporary @farah_dailami @artbyfudgee @_mimea___ @rhiancooke Images: 1&6) Rhian Cooke, stills from 'Wow Now', 2025. © Rhian Cooke; 2) Thahmina Begum, 'Deliciously Hybrid', 2019. © Thahmina Begum; 3) Thahmina Begum. Image: Jules Lister; 4) Matilya Njau. Image: Tom Ip; 5) Matilya Njau, Rowland Road Play Patch, 2026, Yorkshire Contemporary. Image: by Jules Lister; 7) Installation view of Wow Now, Light Night Leeds, 2025. Image: Rhian Cooke.

'The frequent appearance of watery metaphors throughout A Gentle Man operates on various connected levels. At the most simple level, water, especially the still water of lakes, suggests calmness on the surface while implying a hidden depth beneath. Water metaphors often represent the mind or emotional states because they are fluid and shifting, not fixed. Both the lake shapes on the floor and the tables are rendered in black, creating a sense of negative space that evokes stillness, absence and the unknown. Rather than signifying emptiness, I felt that this vastness could be an active space for contemplation, where silence and darkness encourage reflection on solitude, interiority and emotional depth.' Suzanne Golden explores Becky Beasley's new exhibition 'A Gentle Man (Part II) (1975-2029)' at QUAD, Derby. @beckybeasleyuk @sue_golden @derbyquad Photographs by Nigel Green. Link to the full article in our bio.

'The most striking constant amongst Milroy’s prolific output, both in her wider practice and within this residency, is not a subject, motif, technique or material, but a mindset. For her, still life is not a tradition, a visual language, a habit or a crutch but a way of seeing the world and representing its complexity, and this carries across all her works. At the heart of this method is the duality within the word itself: 𝘴𝘵𝘪𝘭𝘭 to mean 𝘭𝘰𝘰𝘬𝘪𝘯𝘨, 𝘭𝘪𝘧𝘦 to mean 𝘢𝘤𝘵𝘪𝘰𝘯. Both 𝘴𝘵𝘪𝘭𝘭𝘯𝘦𝘴𝘴 and 𝘮𝘰𝘷𝘦𝘮𝘦𝘯𝘵, bound together. Milroy’s work is searching for that movement and how it might manifest through moments of stillness, return, repetition. ‘You’re going to see the same thing, but always in a different way.’ Printmaking itself, as a process of reinvention through the repetition and alteration of vastly adaptable processes, matches slowness with action, intention with a releasing of control, and can afford an artist the opportunity to observe their own work unfold and expand capaciously.' In the latest article for our Women in Print series, which follows artists on residency at @artlabcps , @salbutton visits @lisa_milroy and explores still life, process and printing. Follow the link in our bio to read the full text 👠 All images are shared thanks to @tchill80