The way in which power dents and drives it’s path has been a long-term interest of controversial artist, designer and writer Nina Edge. What she does dodges easy definition variously seen as challenging and inclusive, harrowing and humorous, mature and naive.

Edge makes work on the streets, in shops, bars, allotments and waste-ground and in galleries across the UK. She has appeared as both an invited guest and a gatecrasher at Tate Liverpool, as a representative Black British radical in the Bronx Museum of the Arts, as an immigrant in Hull Ferens at the Trophies of Empire commissions and even as a Welsh presence at Philadelphia’s Painted Bride. She crops up craftily as a ceramicist, carnival designer, and producer of political textiles in the Arnolfini and as a costumier, performer and purveyor of contemporary mass ritual all over Liverpool, notably in her seminal Sold Down The River performance - billed as ‘A Post Betrayal Intervention for a Post Industrial City’ and revisited in her 2012 film of the same name.

There are Public Realm works such as the walled West Close Garden in Cardiff Bay at the mouth of the Taff & a ton of turquoise glass on the River Irwell which seem to be permanent, but are not. There are rapidly produced temporary drawings on hundreds of windows designed to wash away with the window cleaner which often remain intact.

This month Edge's work will feature in the Cultural Hi-Jack Programme at the Architecture Association School in London and at Smithfield Market.