From June to July, artist Kerry Lemon unveils SIMPLING, a powerful new solo exhibition at Ruup & Form in London, in a Q&A interview.
A multi-disciplinary artist and certified B Corporation, whose ecological practice includes sculpture, performance, film, painting, and photography. Known for her striking ecological artworks and eco-feminist performances, Lemon has built an international reputation for transforming public spaces and activating community dialogue.
From June 11 to July 6 Kerry will present SIMPLING, a solo exhibition at Ruup & Form in London (Private viewing June 7). The exhibition features art works by her alter-ego, MRS ROE, and delves into themes of reproductive justice and community ritual.
Kerry currently has 233 unique sculptures across 28 projects in the UK, and is commissioned by luxury brands, architects, developers, and local authority clients. She champions public art’s potential to activate civic spaces for local, national and international communities and a more sustainable, interconnected world. Committed to legacy she celebrates biodiversity, regenerates habitats and actively mentors emerging femxle artists (The “X” in FEMXLE signifies inclusion of trans and nonbinary womxn).
I caught up with Kerry ahead of her show to talk about her exhibition, her artistic alter-ego MRS ROE, and why art should always be a force for connection and change.
Q: Can you tell us a bit about your journey as an artist and how sustainability became central to your work?
KERRY LEMON: I’ve always loved art and nature and over time, I realised that disconnection from the land isn’t just an ecological issue – it’s at the root of mental ill-health, climate breakdown and biodiversity loss. That understanding changed everything. I began working closely with scientists, including the Nature Connectedness Research Group at Derby University, to explore how art might help rebuild that lost relationship. Sustainability is now at the heart of every project I take on – from the materials I choose to the habitats I support. Becoming a certified B Corporation® helped formalise this commitment and holds me accountable to rigorous environmental and social standards.
Q: Are there any crucial moments or experiences that inspired you to merge art and environmental advocacy?
KERRY LEMON: A turning point for me was working with the Nature Connectedness Research Group at the University of Derby. Their research showed that feeling close to nature can really improve our wellbeing and make us more likely to care for the environment. It helped me realise that art could play a powerful role in building that connection – not just showing nature, but helping people feel part of it.
Q: A core theme of your work is ‘eco-feminism’. Please tell us about where this association came from and what personal connection you have towards it?
KERRY LEMON: Eco-feminism is the idea that the harm done to the planet is closely linked to the harm done to womxn and marginalised communities. I see both as rooted in systems of control – over bodies, land, and knowledge. This connection feels deeply personal to me.
Q: What types of materials do you work with, and how do you ensure they are environmentally friendly?
KERRY LEMON: work with diverse materials and carbon calculate all my public art sculptures. I prioritise material and structural lifespan and create robust artworks designed for continuous reuse. Each project is unique, so I consider a radical series of approaches including developing partnerships with industry and dismantling sites for suitable waste to recycle, reuse, up-cycle or hack.
Q: How do you balance artistic expression with ecological responsibility?
KERRY LEMON: For me, there’s no separation – the challenge is the practice. I don’t see sustainability as a limit on creativity, but as a rich framework that deepens it. Every decision, from concept to material, is shaped by a responsibility to the land and to future generations. I’m constantly asking: how can this artwork do less harm, or even give something back? That might mean using recycled materials, designing for reuse, or quietly supporting local wildlife through integrated habitats. Ecological responsibility isn’t a constraint – it’s what gives the work its purpose.
Q: Because you specialise in different mediums, do you collaborate with other sustainability advocates in your work?
KERRY LEMON: Yes, I build the MOST incredible teams to deliver each project, including ecologists, engineers, fabricators etc all working with a commitment to the green agenda.
Q: Do you believe art can drive real-world change in how people perceive and engage with environmental issues?
KERRY LEMON: Yes, I do – because I’ve seen it happen. Art can bypass data fatigue and reach people on an emotional level, helping them FEEL rather than just understand. When someone experiences an artwork it can open a new kind of conversation – one rooted in empathy and curiosity.
Q: Have you witnessed any direct impact or changes resulting from your work: such as individuals, groups or even policies?
KERRY LEMON: I believe in starting with the bit of the world you can touch – changing that, quietly and carefully. Over time, I’ve seen this approach make a difference. I’ve mentored young womxn who’ve gone on to pursue creative paths with confidence. I’ve held community consultations that genuinely shaped the final artwork, building trust and a shared sense of ownership. Some of my sculptures now house bats, beetles and hedgehogs – small gestures, perhaps, but they speak to a different way of thinking. I use QR activations to share deeper stories and encourage ongoing engagement, and I calculate the carbon footprint of each project to hold myself accountable. It’s all part of a wider intention: to try my very best to live and work with integrity.
Q: With MRS ROE coming in June, can you give us a preview of your upcoming
exhibition? What can visitors expect?
KERRY LEMON: SIMPLING invites visitors into a space where plant knowledge, reproductive justice and feminist resistance grow side by side. You’ll encounter a series of brass wall sculptures inspired by abortifacient plants – species historically used by womxn and midwives to manage fertility, often in secret and at great personal risk. The works are quiet but loaded, asking you to look closely and think deeply. Alongside the sculptures, there’ll be talks, workshops and small acts of gifting – ways to gather, reflect and share. Every part of the exhibition has been shaped by research, community input and care for the more-than-human world. It’s not just about looking, but about feeling connected – to plants, to knowledge passed between womxn, and to the urgent need to protect both.
Q: What message or experience do you hope visitors will walk away with?
KERRY LEMON: I hope visitors leave SIMPLING feeling more connected – to the natural world, to their own bodies, and to the long, often hidden histories of knowledge passed between womxn. At its core, this exhibition is about reproductive justice – a subject that remains deeply politicised and painfully urgent. Through the language of sculpture, I want to create a space where these issues can be felt, not just understood.
The plants I’ve drawn upon – many of them abortifacients – were once part of everyday knowledge, held in the hands of midwives, healers, and mothers. Today, that wisdom has been pushed to the margins, along with the communities who carried it. By bringing these stories into the gallery, I’m not just reclaiming a history – I’m asking how we might live differently, with greater care for each other and the planet. I hope visitors leave with a renewed sense of reverence for the more-than-human world – and with the quiet, radical idea that listening to plants, to stories, and to one another might help us imagine a more just future.
Q: Will the exhibition feature any interactive or community-involved elements?
KERRY LEMON: YES! The Private View on Saturday 7th June (6–8pm) launches the show with an evening celebration. On Thursday 12th June (6.30–8.30pm), I’ll be joined by Dr Romany Reagan at the Museum of the Home for Plant Knowledge as Power, a special after-hours event exploring the role of ‘women’s weeds’ in herbal resistance (£20, booking required). I’ll also be giving an Artist Talk on Friday 20th June (7–8pm), sharing the research, process and personal stories behind the work. On Saturday 28th June (10am–12pm), join Forage Botanicals for Herbs and Ancient Knowledge Systems, a hands-on herbal tea-making workshop exploring the medicinal power of plants (£25, booking required). We’ll bring the exhibition to a close with a celebratory Finissage on Friday 4th July (4–6pm). All are welcome – some events are free, others require booking, and each is designed to deepen your connection to the plants, histories and ideas at the heart of SIMPLING.
Q: What advice would you give to emerging artists who want to integrate sustainability into their practice?
KERRY LEMON: Build sustainability into your thinking from the very start. I now begin each project with circular design in mind – planning for durability, reuse and disassembly – but it’s taken time, and I’m still learning. I’m constantly questioning how I can do better: Can this be taken apart? Reused? Will it return safely to the earth or continue its life in another form?
You don’t need to have all the answers, what matters is a willingness to ask questions, listen carefully, and adapt your approach. Be thoughtful about your materials and their afterlife. Work with others – scientists, ecologists, engineers – and let that exchange inform your decisions. I’m constantly learning and making mistakes but hopefully improving. I always find this quote from Katie Treggiden very carefully; “The planet doesn’t need a few of us doing this perfectly – it needs all of us trying”
Further information about SIMPLING can be found via Kerry’s website. A private view will be June 7, 6-8pm, while the public exhibition will be June 11 to July 4 Wed, Sat 12am-6pm at Ruup & Form.
