Magda Archer

Anything easy to dismiss as solely cute or slight warrants further investigation for unconscious prejudice. If the likes of Andy Warhol, Keith Haring and Yayoi Kusama can be championed for their savvy approach to mass-multiples and repeat motifs while sustaining their position within an art-historical timeline, then we can afford the same generosity to others plying their trade. Magda follows in the erased footsteps of Pauline Boty, the only female painter in the British wing of the Pop Art movement, or Stella Vine’s melted marshmallow palette of celebrity portraits. Female artists flipping the finger to apoplectic critics, forever keen to rubbish anything with wider appeal.