in surrealism deepened after seeing Salvador Dalí lecture at the 1936 International Exhibition of Surrealism in London. In 1937 she joined the Artists' International Association, and in the late 1930s she became increasingly associated with the surrealist movement in Britain, writing three articles for the London Bulletin in 1938 and 1939, visiting André Breton in Paris in 1939, and joining the British Surrealist Group in the same year. Also in 1939, she exhibited with Roland Penrose at the Mayor Gallery, showing 14 oil paintings and two objects. After only a year as a member of the British Surrealist Group, Colquhoun was expelled in 1940, due to her refusal to comply with E.L.T. Mesens' demands that the surrealists should not be members of any other groups, which Colquhoun felt would interfere with her studies of occultism. This led to Colquhoun's exclusion from other exhibitions organised by the British surrealists, but she continued to work with surrealist principles. In the 1940s, Colquhoun met and began a relationship with the Russian-born Italian artist and critic Toni del Renzio. Though he criticised her art as "sterile abstractions" in an essay in his magazine Arson in March 1942, he soon moved in with her flat, and in December that year she exhibited at a show at the International Art Centre, London, organised by del Renzio. They married in 1943. According to Eric Ratcliffe, their studio in Bedford Park, London, became an open house for friends, other artists and like-minded individuals. The marriage later became unhappy and they divorced – "acrimoniously", according to Matthew Gale – in 1947. From 1945, Colquhoun lived and worked in Parkhill Road, Hampstead. In 1946, Colquhoun bought a studio near Penzance in Cornwall, and divided her time between there and London; in 1957 she moved to Paul, Cornwall. She remained in Cornwall for the rest of her life. She had solo exhibitions in 1947 at the Mayor Gallery, in 1972 at Exeter Museum and Art Gallery, and in 1976 at the Newlyn Orion Gallery. Colquhoun continued producing art until around 1983. She spent her final years in a care-home in Lamorna, and died in 1988. She left the copyright in her works to The Samaritans, her occult work to the Tate, and her other art to the National Trust. In 2019, the Tate acquired the National Trust's holdings of Colquhoun's works. Art Though only formally involved with the surrealist movement in