Sophie Paul (she/her, b. 1998) is a designer and writer based across London and Oxfordshire. Her work triangulates between critical theory, trashiness, and eroticisms, with an interest in feminist materiality. Her MA thesis, Notes Towards a Theory for Iridescence was awarded the 2022 RCA Writing Prize. Her writing is held at Van Gough House, Poor House Reading Rooms and Tate Archive, and has appeared in BOMB Magazine, ARC Magazine, The Pluralist, Fortified Gazette, Deptford Culture Review, and Scrawl. She has written for live voice with Montez Radio, Repeater, Export Radio, and in association with Pitt Rivers, Oxford. She has exhibited at MAC Birmingham, Lunchtime Gallery, and LUCKY as part of Kunstverein München’s interdisciplinary artists residency on the Ammersee. 

Alongside Kaiya Waerea, she is one half of Sticky Fingers Publishing, an intra-dependant publisher based in London, publishing experimental feminist, queer, crip, non-fiction.





︎︎︎ Writing Portfolio
︎︎︎ @theunofficialsoupdragon
︎︎︎ sophieanna15@gmail.com



Sophie Paul (she/her, b. 1998) is a designer and writer based across London and Oxfordshire. Working with experimental writing, collaborative publishing and performance, her interests intersect critical theory, trashiness, and eroticisms. She has written for radio and live voice, run writing and zine making workshops and staged interventionist performances at various sites around London, introducing alternative dialogues around the body as sites for interruption and excess.

Her thesis, Notes Towards a Theory for Iridescence uses the qualities of iridescence to propose an affective re-writing of the ways girlhood and iridescence intra-act. This piece was awarded the 2022 RCA Writing Prize.

Alongside Kaiya Waerea, she is one half of Sticky Fingers Publishing, an intra-dependant publisher based in London, publishing experimental feminist, queer, crip, non-fiction.

She is currently a resident at Peripheral Alliances at the Ammersee, a cooperation between Kunstverein München and Euroboden.






︎︎︎ sophieanna15@gmail.com
︎︎︎ @theunofficialsoupdragon
︎︎︎ RCA2022

Collaboration with the Natural History Museum, London, with Sam Ray, Marta Company, Anitha Sriragavan, Gia MacCallum, and Emily Blake.

The Anti-Tour


A self directed guerrilla style intervention, which takes users to empty spaces within the Natural History Museum, and asks them to speculate about their alternative present: where the artefact has gone, why it's missing, and what they'd like to see replace it. The Anti Tour subverts the use of emptiness; offering a chance to re-engage with the imagination in a space that is oversaturated with controlled visual information. This, in turn, creates an unstructured archive through fiction and shared narrative. 

The next cycle of the Anti Tour was creating temporary tattoos from the suggestions and illustrations left by those who interacted with it. The Anti-Tour thus has a cyclical structure; creating a new archive that is entirely fluid in its geographical placement and intrinsically ephemeral by nature.













Lovstr


Think Tinder, but interspecies. Ever wish that you could reach through the glass of a cabinet and really get to know the exhibit within? To talk to it, ask it what it’s seen, where it’s been, and what it’s story really is: it’s quirks, flirts and fancies. In short, it’s personality. The objects and artefacts in the NHM demand to be known and not just observed, and now you can. Welcome to Lovstr- get to know the archives, your way.

(Like, really get to know them).