Soundtracks to imaginary horror films and pink light on a gloomy morning.

Fixed air: exile, un-home, paradoxes

To write the ecological uncanny, then, is to spend time in these ‘generic out-houses’, and to lie squat beneath the heavy architecture of habit and belief.

Fixed air: occult systems, leaky borders, containers

The necropastoral offers a key to looking at obscured but visible worlds that exist in the interstices of the media, the spectacle, the haunting.

Fixed water: undead mermaids, undersea salons, slime

‘Goo-Goo Lagoon’ shows XXX in a ‘rococo undersea salon full of kitschy trinkets, her appearance, everything about the scene, should appear excessive and slightly off.’

Fixed water: dreams, Gothic spaces, wells

I told her about a dream about a banquet: the hushed grandeur of the room, gold brocade on the table, rotten fruit drawing flies.

Cardinal air: speculation, madness, atmospheric strangeness.

Much of the transformation of the game from mundane to numinous is achieved through the intervention of a sudden moon in cosmic magenta which changes the landscape entirely.

Cardinal air: big mood, the mundane sublime, weird landscapes

Weird landscapes tell us so much about making the hidden aspects of life visible, and, about our interconnectedness with the natural world.

Cardinal air: mycelial networks, field notes, fungal categories

In The Museum of Atheism, each chapter begins with a description of the fungus that has taken over the town of Rosewood, where the action happens. These descriptions act as field notes about real and imagined fungal forms

Cardinal air: wild foxes, psychedelic spores, freezing air.

On Christmas night, a small girl is crowned at a pageant, before stumbling into the snowy darkness, alone, to meet her greatest fan

Mutable earth: reality blur, possession, bodies.

The film unspools like a dream. The actors slip in and out of character. It isn’t always clear which parts of their histories belong to them, and which to the characters they’re playing. Artifice and performance are made visible but also blurred.

Fixed fire: blades forged in fire, revenge, steadfastness

For the proper adherence to ritual we had shaved our hair ultra-close, and smeared on a square of silver zinc.

Fixed fire: unearthly glow, blood red, full moon

Into the kidney dish she drops two eerily ice-preserved blossoms, bruised and tender, beside the ring which gleams lilac.

Cardinal water: strange tides, lovers, deep waters

This is a story written as a liminal space, but this intensifies, rather than diminishes the terror.

Mutable air: the inner sky, imagination, psychosis

The water came in waves and washed gold summer through her bones. He was above her again, his hair deep silk on her face.

Fixed earth: ancient Norfolk flint, deep time, sacred herbs, soporific lettuces, and chilly beaches.

The landscape is dry in its lunar whiteness, with heaps of cracked inky flint in the pale wash of sky.

Fixed air: revelation, visions, futures

These everyday objects take on a plastic significance, the ashtray is a repository for waste, and the mingling of the ash with the ‘pink seat’ suggests an uneasy disruption of categories.

Cardinal earth: rapaciousness, growth, deep roots

Hedges, like lawns, are of no use to the witch unless they are overgrown, wild, and generative.

Mutable fire: film screens, spectrality, excess

‘You want to pee in a red hood you want to lock yourself inside the house. You want to sleep with the wolf. You want to turn on the oven.’