The internet has changed us all, creating a new layer of perfectionist pressure in every aspect of our lives, but equally enabling us to share resources, opinions, help and information more quickly than ever before. Are we supposed to love it, or leave it? Is it ever possible to do both? Like all of their generation, Naomi Shimada and Sarah Raphael have grown up on the internet, and now work closely with it every day. Sarah's work as a journalist brings her into contact with the outer reaches of the internet as well as its inner workings; graph upon graph revealing to her what people most want to read today (hint: its usually a story about a relationship car crash). In her work as a model and positivity advocate, Naomi talks to people all over the world through her sunny, colourful Instagram account; people who rely on her cheerfulness to help them. In Mixed Feelings, they explore what the internet might be doing to our minds, bodies and hearts, through wide-ranging essays and discussions featuring a range of perspectives and voices. A bible for those who refuse to fit into any box, this is a celebration of difference and a challenge to the status quo – a bulwark against the onslaught of images of perfectionism and aspiration we are bombarded with on a daily basis.

Sarah Raphael (1960-2001) died young: preparing a show for New York, she contracted pneumonia and never recovered. Her work, large- and small-scale, is now represented in all the leading British collections. A major retrospective at Marlborough Fine Arts, London, in 2003, bringing together work from her last seven years, was as amazing as her earlier exhibitions in its brilliance, its formal variety and inventiveness. One breathtaking area of her work which has so far been inadequately displayed is her drawing. There are few modern artists who equal her in assurance and firmness of line. Michael Ayrton said to her when she was fourteen, 'Draw your own hands. If you can draw your own hands you can do anything.' She did, and she could. Her informal portraits of friends, some well-known, some unknown, never flatter except in telling the truth. She did justice to every model, and her sense of setting, the economy of her perspectives, her ability to create presence, continue to amaze the viewer. Even the most seemingly casual sketch, closely observed, reconstitutes an original, sculptural space about it. The lessons Michael Ayrton taught ensured that she is always at least a three-dimensional artist. Most of the drawings are from her notebooks and sketchbooks, and Frederic Raphael draws from over twenty-five years of work, primarily pencil sketches. As William Boyd has written, 'you can tell how good they are, yourself'. She has her own, unarguable authority.