Sarnia de la Maré - Author | Technologist | Mentor

Welcome to Mills & Swoon , my new series of droll, risqué romance shorts designed for modern readers who want quick escapism with plenty...

 Artists are often told not to look back — that retrospection is stagnation, that archives are mausoleums, that forward motion is the only r...

 Every era has its creation myth. The 21st century has two: the myth of the machine, and the myth of the self. For feminist artists, these...

 Women are taught, very early, that desire is something that happens to us, not something we generate. We are expected to be the stage, not...

 Memory, in the hands of a feminist artist, is never simply recollection. It is reclamation. Rewiring. A counter-history. A refusal to accep...

 There is a strange and persistent myth that feminist art must be hard-edged, confrontational, armoured, invulnerable — that to survive patr...

 There is a particular archetype emerging in contemporary feminist art — a hybrid creature who moves between analogue and digital realms, dr...

 Beauty, for women, has never been neutral. It is a currency, a weapon, a cage, a performance, a threat, a promise, a provocation, a negotia...

 The contemporary artist lives under uninterrupted surveillance. Not merely state surveillance (though that cobweb is always humming in the ...

 We speak often about “preserving women’s voices,” but rarely do we address the uncomfortable truth: archives are inherently violent. They e...

 There is a particular electricity that crackles at the place where transgression meets reclamation. For many women artists, myself included...