We all live our lives to the tireless tick of the clock. We measure our experiences by neatly allocated portions of time, against which a linear and progressive narrative is naturally applied. Within this structure, going back is impossible. It is only possible to move forwards; to evolve; to age; eventually to expire. But what if this idea we have of linear time is wrong?

In this issue we speak with artists who reverse, recycle or stop the clock altogether. Some look to the most emotional connection we have with time, relating to our own age and mortality, and share both the personal experience of enduring beyond a doctor-decreed life expectancy and the private moments of midlife. We also question how history changes and reshapes itself as the years go by, and highlight the cyclical nature of social and cultural norms.

In Artmix, we meet a practising artist from every point of life, from under ten years old to almost one hundred. Luchita Hurtado, Alex Da Corte, Lynda Benglis, Monster Chetwynd and more share their hopes and dreams, wisdom and memories, and tell us how their age affects their practice.

In our Paper Galleries, we delve into the “coming of age” experience around the world, featuring three artists—Luo Yang (who is also our cover star), Mohamed Bourouissa and Neil Drabble—who capture the heady and at times confronting nature of moving between teenage years and adulthood. We also present the paintings of Hortensia Mi Kafchin, who visualizes the physical and psychological process of transitioning, and delves deep into the human experience, which is shown as both painful and uplifting in different moments.

History informs and foregrounds numerous artists in our Encounters: Mickalene Thomas talks about the political punch of the 1970s, Faith Ringgold tells us how she turns past trauma into optimism, and Danh Vo explains how he throws heavily symbolic cultural icons out-of-sync. Also, Carrie Mae Weems shares her hopes for a more positive future and Sol Calero discusses the cultural responsibility of decoration.

In Journal, Mary McCartney cooks lunch for Rose Wylie in her magical home and studio, Charlotte Jansen writes about why she no longer wants to celebrate birthdays and Federico Florian asks whether airports are the ultimate “in-between” space. Last but by no means least, we pose 10 Questions to British designer Molly Goddard, and find out her favourite joke.

Can art save us? As we find ourselves facing the ever-harsher realities of the climate crisis, this age-old question becomes relevant once again. In this issue, we interrogate the many ways in which animals and the natural world are presented visually—often with either advocate or escapist tendencies—and speak with artists who are suggesting new ways of reconnecting with and caring for the environment.

We also meet the artists who are relating to plants in an intimate and sensual manner. Through their lush, highly tactile work, they explore our current contact with the many different lives we share this planet with, while taking inspiration from the erotic power dynamics of BSDM.

In this issue’s Encounters, we speak to fashion photographer Tim Walker, discuss the pitfalls of utopia with pioneering sculptor Lee Bul and talk clay and consent with performance artist Florence Peake.

Two Paper Galleries continue our exploration of the wild world. We investigate the notions of innocence and the rural in Caroline Tompkins’s heated photography. Cover artist Lydia Blakeley’s paintings are also presented; these bring together pets, sporting animals and Internet memes with both unsettling and amusing results.

In the back section of the magazine, Journal features our regular columnists: Charlotte Jansen questions the environmental argument for having fewer children, while Federico Florian examines the unnatural social and transactional space of the Uber car. Plus, Mary McCartney takes us inside Peter Blake’s studio—and cooks him lunch—and Gavin Turk suggests ten ways of improving our relationship with Planet Earth.All this and more, as we round off a particularly explosive decade.