Books & Catalogues

My monograph, Land Matters, is one of my proudest achievements. It was several years in gestation, and many more in realisation. It drew upon many years of teaching, research, curating, catalogue essays, and other articles, not to mention discussions with students, colleagues and at conferences. It benefitted extensively from the context of the Land/Water and the Visual Arts research group at University of Plymouth, UK. In turn, it has fed into many rewarding encounters, nationally and internationally, not the least of which is leading a short seminar on land, landscape, and environment at Universidad-Politècnica de Valencia for MA students, in general, Spanish or Latin-American, whose familiarity with photographers working with place and environment in their home areas is regularly  illuminating. The publication sold out fast. Happily, some years later, due to shifts within UK/North American academic publishing related to photography, it became available again. Now, over 20 years since I first embarked on it, conceptual thinking and political priorities have moved on and new generations of photographers have emerged, so there is a sequel to be written. One day, maybe…

In 2019, I started to reflect on ways in which my concerns have shifted over the years, most particularly from showcasing work by women  towards writings and exhibitions critically investigating place and environment. Coinciding with this, a couple of academic colleagues commented on difficulties finding my articles in photobooks and catalogues, which tend to be short-run editions, often speedily out of print or consigned to storerooms. Hence, the idea for an anthology of previously published works. It may also not be a coincidence that this aligned with retiring from regular employment (at University of Plymouth), a classic life moment for reflecting on what has – or has not – been achieved. It also coincided with Covid-19 lockdowns in UK, so there was little to take me out of my studio, away from my personal domain, and limited possibilities for embarking on new research since galleries and archives were closed and travel was limited.

Photography, Curation, Criticism is organised thematically into five sections, but if you look at the nineteen chapters in terms of original dates of publication, shifts become clear. As I note in the prologue, visual communications matter; this anchors my interest in photography as a means of broader political and environmental interrogation. Themes may be diverse, ranging from semiotic readings of imagery and fostering spaces for critical debates, to questions of gender, representation, and identity, or of land, landscape, territory, and place and, especially recently, environmental issues, politics, policies, and practices. Yet, a few common threads emerge, including not taking imagery at face value, and fostering opportunities for critical reflection. I repeatedly reference thinking through practice, reflecting a core view of art (at its best) evoking responses that are simultaneously sensory and intellectual. I was fortunate to attend a Montessori primary school where the emphasis was on learning through doing. For me, this has morphed into thinking through writing and curating.




  • Photography, Curation, Criticism: An Anthology. London: Routledge, 2023.
  • Land Matters: Landscape Photography, Culture and Identity. London: I B Tauris, 2011/Routledge reprint, 2021.


  • Photography and Cyprus, co-eds., Nicos Philippou and Theopisti Styliannou-Lambert London: I B Tauris, 2014.



  • Light Touch. Baltimore: Maryland Arts Place, 2014. Read » *
  • FUTURELAND NOW, John Kippin, and Chris Wainwright. Plymouth: University of Plymouth Press, 2012.
  • Landscapes of Exploration, British Art from Antarctica. Plymouth: University of Plymouth Press, 2012
  • Viewfindings, Women Photographers, ‘Landscape’ and Environment, Tiverton: Available Light, 1994


  • Layers of Visibility, co-ed. Yiannis Toumazis. Plymouth: University of Plymouth Press, 2018
  • Shifting Horizons, Women’s Landscape Photography Now, co-eds., Kate Newton, and Catherine Fehily. I B Tauris, 2000