The creative output of Ann Churchill spans over fifty years. This incredible, ongoing body of work, encompassing drawing, painting, beading, knitting and more has, until recently, been largely unseen beyond family and friends. However, through Churchill’s inclusion in recent shows such as the Hayward Gallery Touring exhibition Not Without My Ghosts: The Artist as Medium (2020–22) and her exhibition at Quench Gallery in Margate (2023), her extraordinary work is finally finding the audience it deserves. This newfound recognition comes at a time of increased interest in the work and lives of artists such as Hilma af Klint (1862–1944), Georgiana Houghton (1814–84), Madge Gill (1882–1961) and Ithell Colquhoun (1906–88) – artists whose output during their lifetime was either completely unknown  or who sat at the fringes of an art historical canon not quite ready to embrace their esoteric and spiritual vision. Like Churchill, these were women who placed automatism at the centre of their practices and whose spiritual and artistic development was intertwined.