Photographer Hayden Phipps, Image Courtesy of Southern Guild

As the gallery manager of Southern Guild, and previous Gallery Manager of WHATIFTHEWORLD, Lindsey Raymond (b. 1995) is also an independent editor, researcher, and art and culture writer.

In her capacity as a writer, she has worked with artists such as Cameron Platter, Lakin Ogunbanwo, Tabita Rezaire, Athi-Patra Ruga, Thania Petersen, Oluseye, and others based in South Africa, Nigeria, Canada, and London. She has further edited and written text pieces for institutions such as the Smithsonian (Washington, D.C.), Hayward Gallery (London), and the Norval Foundation (Cape Town), as well as Galerie Hussenot (Paris) and local galleries WHATIFTHEWORLD, Southern Guild, and SMAC. Her work has been published in ArtThrob, Bubblegum Club, and TONGUES.

Since graduating Cum Laude from the Michaelis School of Fine Art (University of Cape Town) in 2018, where she specialised in sculpture and art history, she has curated Spring Awakening, a multi-sensory group exhibition including 25 artists and designers working in sculpture, painting, ceramics, photography, wearable art, textiles, and sound. Featuring works by Ghada Amer, Cheick Diallo, Dominique Zinkpè, Porky Hefer, Lea Colombo, Andile Dyalvane and others, the artists descend from South Africa, Zimbabwe, Mali, Benin, and Egypt and are living and working on the African continent, and in New York, London, and France. She has also curated Not Angels or Algorithms, Only Human Error, a video exhibition at WHATIFTHEWORLD.

Lindsey Raymond has hosted workshops in making and theorising bioplastics from an ecological feminist perspective, performed with Belinda Blignaut at the Zeitz Museum of Contemporary African Art, and worked with non-profit organisations such as PASSOP (People Against Suffering, Suppression, Oppression, and Poverty), the Desmond Tutu HIV Foundation, and HAICU (HIV/AIDS, Inclusivity & Change Unit).

Her intimate relationship with materiality and textural surfaces, preoccupation with bodily and sensory experiences and use of abstraction and language are central to her writing, artistic and curatorial practice. Her primary theoretical interests are virtual media; popular culture; feminist and queer art practices, performances, and aesthetics; and futures/non-futures.

Her exploration of the making/unmaking and becoming/unbecoming of objects is used as the language in which she explores queer particularities. In doing this, she reflects on alternative ways of positioning identities in art; through more ambiguous, exciting, confusing and complex ways.