Lorna Robertson’s colorful paintings, often made with a combination of oil paint and collage, have a distinctly nostalgic tone. Shimmering female forms with swinging skirts from the 1950s or bonneted bathers from the 1920s jostle with richly described interiors and crowded tabletops. Hints and glimpses of tangible forms––a fashion model, for example, or a vase––appear and then fragment into patterns and explosions of color.This new publication coincides with Robertson’s exhibition at Ingleby Gallery and is divided into sections that feature collections of recent large paintings by the artist (2015–2022), small paintings (all 2022) and works on paper (2016–2022), all of which demonstrate Robertson’s characteristic layered interpretations of the female form alongside recurring motifs such as hats, long dresses, and flowers. Her drawings (2018–2020) offer fluid forms in ink, pencil and watercolor.An essay by art critic Hettie Judah explores Robertson’s work in terms of pattern, costume, and architecture, drawing out key inspirations including tapestry, advertising, and magazine design through abstracted forms. The influence of contemporary female painters and those from art history is further considered.In another text, Robertson is in conversation with artist and writer Mikey Cuddihy. This frank interview reveals much about Robertson’s intuitive working processes: from starting points, color decisions, the rhythms of brushwork, and considerations of scale, to the wider relationship between text, music, drawing, and painting.The publication is edited by Ingleby Gallery, designed by Joanna Deans, Identity, printed by Albe De Coker, and co-published by Ingleby Edinburgh, and Anomie, London. The publication coincides with Robertson’s first solo exhibition "thoughts, meals, days" at Ingleby Gallery, Edinburgh, in 2022. The artist is represented by Ingleby Gallery.