This website is under maintenance as the full portfolio is being updated.

For curatorial, gallery, or research inquiries contact: info@lindaaloysius.com.

Linda Aloysius is a working-class artist and researcher whose practice explores the embodied dynamism of domestic structures meeting natural processes of recovery.

The artist generates multi-layered, site-sensitive interventions to map onto and critique institutional spaces, actively operating through commissioned exhibitions, residencies, peer-reviewed academic publications and guest speakerships.

Deeply intuitive and formidably intelligent, her approach of 'Morphological Activism' subtly and eloquently draws from her original, longstanding experiences of the grid as a pervasive patriarchal imprint and nature as a ravaged yet absolute force.

Brutal and elegant, Aloysius’ works are raw, sculptural, and site-sensitive mappings. Tracing and counter-tracing plural geographies of the female body and evolving landscapes, they intimate elusive spaces of ecological reclamation. Her artwork and research are presented across prominent international institutions in a variety of contexts, including:

Exhibitions + Spatial Interventions

• John Moores Painting Prize, Walker Art Gallery, Liverpool (Selected Artist, 2023)

• Fruitmarket, Edinburgh (Group Exhibition, 2023)

• Outside Tate Modern, London (Uncommissioned Site-Specific Intervention, 2020)

• Credit Suisse, London (Group Exhibition, 2019)

• APT London (Solo Exhibition + External Street Interventions, 2018)

• MAAT, Lisbon (Research Presentation, 2017)

• V22, London (Solo Exhibition + Dialogue with Artwork, 2016)

• Women's Art Library, Goldsmiths, London (Exhibiting Artist + Symposium Co-Organizer, 2016)

Performative Lectures + Site Sensitive Inquiries

• Feral Art School, Hull (Invited Speaker: Critical Presentation + Dialogue, 2025)

• Henry Moore Foundation, (Invited Speaker: Practice-Led Intervention + Talk, 2023)

• The Foundling Museum, London (Invited Speaker: Conference Research Intervention, 2022)

• SFK International, China (Invited Speaker: Artist's Critical Dialogue, 2021)

• Glasgow University, Glasgow (Invited Speaker: Project Presentation + Dialogue with Girlhood Gang, 2019)

• Middlesex University, London (Invited Speaker: Feminist Art Activisms and Artivisms Conference, 2018)

Awards, Research Support + Funded Projects

• Henry Moore Foundation (Honorarium + Research Presentation, 2023)

• Fruitmarket, Edinburgh (Commissioned Artist, 2023)

• Arts Council England (Studio Practice Funding, 2021)

• ACME (Rent Relief Scheme Award, 2020)

• Ryder Project Space / A.P.T London (Artist Residency + Solo Exhibition, 2017–18)

• Goldsmiths College (Research Support Awards, 2008 + 2015)

• Central Saint Martins (Short-Term Artist Residency + workshop at Futuro House, 2016)

• Gangwon Art & Culture Foundation: Gam / Dong: Feel / Move, Art in Village Public Art Project, (Artist Residency, Sabuk – Gohan, South Korea 2009)

• Arts Council Heritage Lottery Fund (New Work Visual Commission, 2005)

Selected Publications

• 2023 – Book Chapter: 'Linda Aloysius' in Poor Things, published by Fruitmarket, Edinburgh

• 2023 – Book Chapter: 'Linda Aloysius' in John Moores Painting Prize 2023, published by National Museums Liverpool

• 2020 – Book Chapter: 'New Model Army: Behind Tate Modern: Morphological Activism and Working-Class Single Mothers' in Feminist Activisms and

Artivisms, edited by Katy Deepwell, published by Valiz, Netherlands (Photographic documentation and reflective text on the Behind Tate Modern

interventions)

• 2018 – Peer-Reviewed Journal Article: 'New Model Army: Invisible Labour (2017-18)' in Feminist Review, Issue 120 (Photographic documentation and

reflective text on the APT London street interventions)

• 2016 – Peer-Reviewed Journal Article: 'Not Fallen but Felled' in Museological Review, Issue 20

Selected Bibliography + Commentary

• "In submitting the tea towel, the artist proposed there was a painting of her invisible labour in the household stains picked up by the cotton; a portrait

made not in the studio, but in the home."

— The White Pube

• "The quick of recovery, the recognition of the rich hidden force that lies beyond the poverty of gendered display and disguise. This is the nub of

Aloysius’ work."

— Cherry Smyth

• "It puts pressure on the museum by simply existing... And that act builds a relationship between the viewer, the artist, and the museum."

— Art in Liverpool