Emily Coghlan is a UK-based visual artist who often combines analogue photography with archival artefacts and performative interventions in the landscape. Her creative process has been enmeshed with her time growing up in Leeds and being present in urban green spaces and woodlands.
Some visual research questions stem from her interest in medical and gender histories, as well as ideas surrounding rhizomatic growth (to the side), restriction and freedom, construction, memory, trauma, reparations, and cyclical patterns. Her lived experience of having spinal fusion surgery and a diagnosis of autism spectrum disorder have also informed these interests. In recent projects, botanical features and arboreal language have been compared with aspects of societal constrictions.
Emily holds a distinction in MA Photojournalism and Documentary Photography from London College of Communication (University of the Arts, London). She has been experimenting with camera-less photography, wood-carving, book-development and moving-image with an Arts Council England 'Develop Your Creative Practice' project grant.
Recent work presentations include Flatttpack #1 at Camden Studios, Bow Arts Trust, London (2024), Postcards for Palestine at Berlinskej Model Gallery, Prague & Claire de Rouen Books, London (2023), Members' Show, OUTPOST Gallery, Norwich (2023), The Royal Academy Summer Show, London (2023) and Photo Scratch at Fixation Cameras, London (2023). Selected features in publications include Volume 5: Issue 2 of OUGHT: The Journal of Autistic Culture (2024) and Issue 5 of Porridge Magazine (2021).
Emily is currently working as an occasional mentor for an initiative with Impressions Gallery under the Bradford City of Culture 2025 programme. Her studio is with Bow Arts Trust in London.