Bad Taste

︎ Weekly Newsletter 
︎ January 2021 – ongoing

Every weekend, I publish Bad Taste, a Substack newsletter reviewing film, TV, music, art, books, fashion shows – or whatever form of pop culture is grabbing my attention that week.

A sample of recent posts:
︎ On Netflix’s Halston
︎ On Olivia Laing’s Everybody
︎ On Rachel Kushner’s The Hard Crowd
︎ On Sam McKinniss at Almine Rech 
︎ On Lana Del Rey’s Chemtrails Over the Country Club 


︎ Department of Ultimology: Fiona Hallinan and Kate Strain. Photograph by Paula Alvarez.

Department of Ultimology

︎ Interview for Liquid
︎ 6th November 2020

Interview with Fiona Hallinan and Kate Strain about the Department of Ultimology, its approach and methodologies, and how their research has shifted their perspectives on death, intimacy, darkness and decolonisation.


Penetrating the Veil

︎ Radio Segment
︎ 29 October 2020

Audio piece aired on ‘The Witching Hour’, Dublin Digital Radio, Thursday 29 October 2020. Performance, ritual and response to texts/songs by Georges Bataille, Emily Brönte and Céline Dion.

︎ LISTEN HERE (Segment starts at 33 minutes under the alias “Babette”)

Rewriting The Myth: Caroline Catz on bringing the Delia Derbyshire story back to life

︎ Interview for London Film School
︎ 14 October 2020

Interview with actor and director Caroline Catz on her feature-length directorial debut, Delia Derbyshire: The Myths and The Legendary Tapes.


︎ Liliane Tomasko, Untitled, 2018
Acrylic and acrylic spray on linen

You Want It Darker

︎ Catalogue Essay
︎ November 2019

Catalogue essay for Liliane Tomasko’s solo exhibition dark goes lightly at Château La Coste, Aix-en-Provence, 21 October – 18 December 2019. (More information on the exhibition here.)

︎ BUY BOOK via Kerlin Gallery


Nine of the thirteen paintings in this exhibition have titles prefixed with “a dream of”, and one “dreaming of”. We are firmly rooted in the realm of the nocturnal, the nonlinear, digging deeper into the subconscious, but this need not always be dark. In dreaming of Suzanne (2018), I am sure I can make out the bowed head and exposed breast of a woman, reclining into a sunset. Stark black lines dashed against an all-enveloping apricot, it’s a sun-kissed vision charged with jouissance. In the bright, hot, vivid a dream of: A RED THREAD (2018), coiling red paint lashes forth tongue-like from beds of fuzzy peach and frothy white stripes. The work’s fragmentary title and hallucinatory division of space is both compelling and cryptic: do we follow the unspooling red thread? Grasp it? Untangle or unravel it? Red, the most powerful and evocative of all colours, heralds both danger and desire; a red thread could present a warning but also deep connection; some kind of cosmic umbilical cord, connecting us to the universe and every living thing within it.