Pain is not experienced equally. Nor is it believed equally.
Research consistently shows that chronic pain conditions disproportionately affect women and people assigned female at birth. Yet the ways pain is recognised, recorded and treated within healthcare systems puts women at a disadvantage. Research repeatedly demonstrates that women and girls face greater barriers to diagnosis and treatment, with practitioner scepticism contributing to unequal access to care.
A 2024 study by researchers …
Pain is not experienced equally. Nor is it believed equally.
Research consistently shows that chronic pain conditions disproportionately affect women and people assigned female at birth. Yet the ways pain is recognised, recorded and treated within healthcare systems puts women at a disadvantage. Research repeatedly demonstrates that women and girls face greater barriers to diagnosis and treatment, with practitioner scepticism contributing to unequal access to care.
A 2024 study by researchers at King’s College London found that women were not only less likely than men to be prescribed pain relief, but also less likely to have their pain scores formally recorded. The authors suggest this disparity is driven by enduring biases around gender and pain intensity, including assumptions that women may “over-report” their symptoms. Similarly, a 2024 parliamentary report by the Women and Equalities Committee identified what it termed “medical misogyny”, describing how the normalisation and dismissal of women’s pain leads to delayed diagnoses and diminished quality of life.
These gendered experiences of bodies and pain are not new. They have long been interrogated by writers, poets and artists, from Frida Kahlo’s uncompromising self-portraits of physical suffering to Tracey Emin’s ongoing, autobiographical explorations of illness, vulnerability and endurance.
Women’s embodied experiences of pain – how pain is felt, understood and lived through the body – sit at the heart of Divine Archives. This is the first solo exhibition by Yorkshire-based interdisciplinary artist Emily Ryalls, which is currently showing at The Art House in Wakefield.
Working across photography, sculpture and performance, Ryalls explores the blurred boundaries between artist and subject, often through close collaboration with others. Her work brings individual experiences into collective dialogue.
The exhibition is also rooted in place. The workshops that led to Divine Archives took place in the grounds of the Yorkshire Sculpture Park, where Ryalls recently completed a residency. Ryalls designs artistic processes that invite participants to perform with the natural environment, their bodies and their memories. While self-portrait sessions focused specifically on medical contexts, other making processes – including ceramics and cyanotype printing – were used to explore wider lived experiences of pain.
Curated by the gallery’s co-executive director, Damon Jackson-Waldock, the exhibition offers a multi-sensory document of this collective experience of creating. On show are multimedia artworks, films projected onto large transparent screens, remnants of ceramic pots, and large-scale cyanotype prints. Visitors are invited to participate and to explore the creative processes and outputs.
With Divine Archives, Ryalls draws on her own knowledge and experiences as a creative practitioner and researcher (she recently studied for an MA in the University of York’s Centre for Women’s Studies). Building on previous work in which she explored her own engagements with healthcare systems (and experience of failures of recognition of pain symptoms), Ryalls brings together a collective of 46 women to co-create, using photography and film to document the experience.
In the book she produced to accompany the exhibition, Ryalls describes this practice as “the act of archiving”. She encouraged her collaborators to use the collective space to think about bodies as “beautiful and radical archives”. Ryalls will continue to develop these themes, practices and ideas through a Pilgrim Trust-funded creative health project, Photovoices.
Archives of the human body are presented here as partial, messy, complex and intertwined, foregrounding the intricate connections between the individual and the collective. They show us a possible way forward, a reworking of how women’s experiences might be made visible and audible, challenging failures of recognition.
Emily Ryalls: Divine Archives is at The Art House Wakefield until March 7 2026.
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