Imagine Kandinsky as a feminist performance artist channeling Beuys while painting, and you might get a sense of Lucy Dodd’s sensibility. Her first London show, “Miss Mars,” was inspired, she has explained, by both a legendary East London pub, the George & Dragon, and her newborn daughter.

Dodd conveyed the idea of dragon slaying not with an image, but with wild spurts and spatters of pigment across canvas, as well as with her works’ titles: for instance, The Slay, The Sting, The Blow (all works 2018). Dodd’s is a revamped form of action painting; one is always aware of the artist’s sweeping

With her film Ascent, 2016, Fiona Tan turned her gaze to landscape, creating an eighty-minute montage from thousands of amateur photographs of Japan’s Mount Fuji. For her exhibition “Elsewhere,” she dealt with a different terrain: that of Los Angeles, where she recently spent one year. This time, Tan handled the camera herself, filming from a hilltop studio at the Getty Center. As in Ascent, this new project saw her grappling with a mythical subject: The notoriously sprawling city has not only featured in countless cinematic representations, but it has also continuously generated new images of