Reality is more than matter shaped by physics and chance; it is patterned, alive with echoes across scales — from quantum flickers to cosmic rhythms. ‘Self-Similar’, curated by Mat Chivers at Paul Smith Space, gathers twenty three artists whose works trace the delicate weave between nature and consciousness, blending science and intuition. At a moment when the future hangs in the balance, and humanity must relearn harmony with the Earth, these artists invite us to see anew — to imagine a world where human and more-than-human minds entwine, and all things are bound by a quiet, resonant thread.
Mat Chivers
We all know that reality encompasses more than just an accumulation of periodic elements governed by the laws of physics and chance. When we observe the substance of the worlds around and within us, we see self-similar patterns and ordered systems at every scale — from the quantum to the universal. ‘SelfSimilar’ brings together works by artists who navigate the infinitely complex web of connections between the natural world and human consciousness. They do so by using a spectrum of material and conceptual approaches, ranging from the scientific to the intuitive.
As a species, we stand at a tipping point: the future of all life on Earth depends on humanity’s ability to re-establish a harmonious relationship with our planetary ecosystem. In this mind-bending moment of technological evolution and existential crisis, we are compelled to ask ourselves what it truly means to be human, and what we value in that identity.
The artists featured here embody ways of seeing and making that dream a new worldview — one that celebrates the entanglement of human and morethan-human consciousness through the vast web of connectivity that threads through all things.
Artists
A.A. Murakami
Aigana Gali
Ambrosine Allen
Emilie Pugh
Es Devlin
Gabriele Beveridge
Jonathan Michael Ray
Louise Beer
Marina Abramović
Mark Wallinger
Mat Chivers
Nadine Talalla
Noémie Goudal
Peter Liversidge
Rachel Howard
Sam Lock
Sarah Staton
Shezad Dawood
Simon Averill
Susan Derges
Suzanne Treister
Tom Jean Webb
Will Cruickshank
A.A. Murakami
A.A. Murakami is an artist duo based in Tokyo / London, renowned for their innovative sensory installations that explore the profound connection between art and nature. Their work draws inspiration from ancient traditions, and they seek to emulate and honour the natural world - whether through structures that chart the sun’s path or cave paintings that depict life thousands of years ago. A.A. Murakami’s creations reflect an innate human desire to connect with and revere the natural systems that lie both at the origins and the future of our existence.
Pioneers of “Ephemeral Tech,” A.A. Murakami have coined this term to describe a new form of art that transcends familiar technological interfaces like LED arrays, projections, and screens. Instead, they use technology in combination with ethereal materials such as fog, plasma, and bubbles to create fleeting moments and entirely new, unnatural phenomena. In their work, there is a moment when digital code hands over to physical laws, bringing their creations into the realm of the tactile and multisensory.
A.A. Murakami’s work is featured in the permanent collections of MOMA in New York, the Centre Pompidou in Paris, and M+ in Hong Kong.
Cell 4,5,6 2022
Artwork given by artist in support of Platform Earth
Air-ink on recycled paper
Framed / 70 x 109 cm each / £13,200 inc VAT
Aigana Gali
Since Gali’s earliest experiments in painting, textile, and sculpture, she has pursued a practice defined less by medium than by the spirit animating each series. Trained first in Kazakhstan and later in London, Gali has developed a body of work that excavates ancestral memory, mythic resonance, and cosmic pattern. Gali’s images are re-imaginings: she paints, sews, casts, and layers in a constant dialogue between source and transformation. Her practice, in this sense, does not illustrate ancient cosmologies so much as enact them.
Gali holds degrees in Fine Art and Literature from institutions in Almaty and London, and her work has been shown internationally—from the Royal Academy in London to the National Museum of Georgia. But perhaps her most enduring context is the open, imagined terrain between past and future, between matter and myth, where her art continues to unfold.
Akyn 2023
Acrylic and oil on canvas
160 x 130 cm / £18,900 inc VAT
Teniz 2023
Acrylic and oil on canvas
160 x 130 cm / £13,200 inc VAT
Dzhemre 2024
Acrylic and oil on canvas
200 x 140 cm / £18,900 inc VAT
Ornek II
2023
Acrylic and oil on canvas
106 x 82 cm / £14,400 inc VAT
Alnur 2024
Acrylic and oil on canvas
130 x 97 cm / £14,000 inc VAT
Alakai I 2022
Acrylic and oil on canvas
190 x 140 cm / £22,800 inc VAT
Ambrosine Allen
Simultaneously fantastical and real, beautiful yet troubling, the collages by Allen depict a world in turmoil, landscapes of altered ecosystems that are subject to bizarre natural phenomena. Informed by the science, myths and history of humanity’s interaction with the environment, the series presents us with a ‘new world’, an alternative evolution that shadows our own but is violently shaped by the power and majesty of nature and the self-destructive force of mankind. Allen makes intricate collages, meticulously created using layer upon layer of tiny paper cuttings. The cuttings come from images found in discarded books and encyclopaedias, which are broken down into fragments so small that the images are reassembled using tweezers. The subjects are landscapes, often epic in scope but with a detailed aesthetic that references 17th and 18th century engravings of a geographical nature. Each piece often takes several months to complete. Allen completed a BA in Fine Art: Drawing at Lancaster University and MA at Wimbledon College of Art, graduating in 2005.
The Water Froths and Foams
Paper collage with UVA filter
11.5 x 12 cm unframed / 41.5 x 42 cm framed / £2,640 inc VAT
Valley to the North 2024
Paper collage with UVA filter
11.5 x 12 cm unframed / 41.5 x 42 cm framed / £2,640 inc VAT
The Sky, the Peaks, the Heaving Plain 2024
Paper collage with UVA filter varnish 150 x 150 cm framed / £17,400 inc VAT
Emilie Pugh
Emilie Pugh’s work is driven by an interest in the interconnectivity of all living things.
She explores the intersections where science and spirituality converge, focusing on the universal patterns and forms that resonate across different scales, from the microscopic to the cosmic. Through her art, Pugh examines the patterns and behaviors within nature, ranging from the logarithmic spirals of a cyclone to the Fibonacci sequences found in a sunflower seed head. Her work invites viewers to contemplate the delicate balance of life and the shared connections that unite us all.
Pugh experiments with a diverse array of mediums and processes, with a particular focus on the technique of burning into Japanese paper. Using an incense stick or pyrograph, she perforates holes to create intricate patterns that resonate with the themes of her practice.
‘The patterns found within our anatomy mirror those in the natural world, illustrating that we are not separate entities but rather integral parts of a larger ecosystem. Our existence is deeply intertwined with the rhythms and structures of nature, and “Spiro” seeks to highlight this profound relationship.’
- Pugh
Surface Tension
Burnt kozuke paper with Gilded cast rocks 240 x 150cm / £33,600 inc VAT
Spiro 2023
6 layers of burnt shiramine paper
Framed / 115 x 115 x 20 cm / £19,200 inc VAT
Es Devlin
Artist and stage designer, Es Devlin’s work explores biodiversity, linguistic diversity and collective AI-generated poetry. She views the audience as a temporary society and encourages profound cognitive shifts by inviting public participation in communal choral works. Her canvas ranges from public sculptures and installations at Tate Modern, V&A, Serpentine, Imperial War Museum and United Nations General Assembly, to kinetic stage designs at the Royal Opera House, the National Theatre and the Metropolitan Opera, as well as Olympic Ceremonies, Super-Bowl Half-Time shows, and monumental illuminated stage sculptures for Beyoncé, The Weeknd, Dr Dre, Kendrick Lamar and U2.
She is the subject of a major new monographic book, An Atlas of Es Devlin, described by Thames & Hudson as their most intricate and sculptural publication to date, and a retrospective exhibition at the Cooper Hewitt Smithsonian Museum of Design in New York. She was the first female designer of the UK Pavilion at Expo 2020 and her practice was the subject of the Netflix documentary series Abstract: The Art of Design. She has been awarded the London Design Medal, three Olivier awards, a Tony award, an Ivor Novello award, doctorates from the universities of Bristol, Kent and the University of the Arts London as well as Royal Designer for Industry by the Royal Society of Arts and CBE.
Air-Ink screenprint on recycled paper
120 × 50.7 cm / £6,360 inc VAT
I Saw the World End (Black on White)
Artwork given by artist in support of Platform Earth
Gabriele Beveridge
Gabriele Beveridge (b. 1985, Hong Kong) lives and works in London. She studied at Falmouth College of Arts, Cornwall, and the Slade School of Art, London, from which she graduated in 2010. Beveridge is known for her sculptural and conceptual practice that combines materials as diverse as hand-blown glass, photo chemicals and faded advertisements found in salon windows. Her assemblages put display on display, spotlighting the modular shelves that populate the innards of high-street shops, often combining them with slumped hand-blown glass forms that harness the material’s beauty, strangeness and ubiquity. They mimic the body and the way it’s displayed in a vastly expanding search space, where biology evolves with the natural and non-natural, the organic and inorganic. Engaged through a dialogue that is as poetic as it is provocative, Beveridge absorbs the urban environment in which she moves, interrogating the materials that define its contours.
Recent solo exhibitions include a sculptural commission in collaboration with Women in the Arts Association for 100 Bishopsgate, London (2025), Blood Moon, Cosar Gallery, Dusseldorf (2024), and Laps, with Carlos Reyes, Bradley Ertaskiran, Montreal (2022). Beveridge’s work is held in public and private collections worldwide including Museum Kunstpalast, DE, Stavanger Art Museum, DK, Museum Ludwig, DE.
30 x 40 x 40 cm / £18,000 inc VAT
Stem (IV) 2025
Hand-blown glass, steel book-ends, steel upright
Blood Moon (I) 2024 Powder coated steel frame
Blood Moon (II) 2024
Powder Coated Steel Frame 60 x 60 x 5 cm / £8,400
Blood Moon (III) 2024
Powder coated steel frame 60 x 60 x 5 cm / £8,400
Light Pool 2024
Photogram (unique gelatin silver print), aluminium frame 40 x 50 x 5 cm / £4,800 inc VAT
Night Blindness
Polyeurathane paint on steel panels, uprights
200 x 200 cm / £18,000 inc VAT
Prophetic Souls 2024
Hand-blown glass, chrome shop fittings
120 x 100 x 65 cm / £21,600 inc VAT
Jonathan Michael Ray
Jonathan Michael Ray (b. 1984) is a graduate of Nottingham Trent in 2007 and Slade School of Fine Art in 2016. His work comprises of video, photography, sculpture, print and drawing, and much of it is deeply connected to his surroundings. He examines the multilayered histories, fictions and beliefs assigned to artefacts, materials and the places he encounters.
Elements of collage and assemblage are often present, and he regularly uses found objects and images, as well as material direct from the landscape, appropriating their symbolism while creating a new context and meaning. By layering and combining material, Ray is interested in looking beyond the surface of a purely physical existence and breaking down the institutions by which we are taught to see and experience the world.
Settlement (yellow) 2024
Wax and Orkney earth pigment on paper
Framed / 124 x 89 cm / £1,800 inc VAT
Settlement (red) 2024
Wax and Orkney earth pigment on paper
Framed / 124 x 89 cm / £1,800 inc VAT
Ere long done do does did 2022
Graphite, beeswax and ink on Somerset paper
93.5 x 65.5 cm / £1,440 inc VAT
Louise Beer
Louise Beer is an artist and curator, born in Aotearoa New Zealand. She now works between London, Margate and Aotearoa. Beer uses installation, moving image, photography, writing, participatory works and sound to explore humanity’s evolving understanding of Earth’s environments and the cosmos. Her experience of living under two types of night sky, the first in low level light polluted areas in Aotearoa, and the second in higher level light polluted cities and towns in England, has deeply informed her practice. She explores how living under dark skies, or light polluted skies, can change our perception of grief, the climate crisis and Earth’s deep time history and future.
Beer holds an MA Art and Science from Central Saint Martins and a BA (Hons) in Fine Art from Middlesex University London. She is currently Artist in Residence from January 2025 - December 2026 at the Institute of Astronomy, University of Cambridge, and she is the director of Lumen, super/collider and Pale Blue Dot Collective.
Earth, a Cosmic Spectacle I
Metallic c-type mounted on dibond with acrylic face mount
100 x 67 x 10.6 cm / £7,200 inc VAT
1 of 1
Eternity in Pitch Black 2012
C-type mounted on dibond with acrylic face mount
45.6 x 45.6 x 3.2 cm / £6,000 inc VAT
Mōna/ Absence
C-type mounted on dibond with acrylic face mount
80 x 55 x 3.6 cm / £7,200 inc VAT
1 of 1
Mōna/ I fell into your light
C-type mounted on dibond with acrylic face mount
80 x 49 x 3.6 cm / £7,200 inc VAT
Mōna/ Infinite
C-type mounted on dibond with acrylic face mount
80 x 53 x 3.6 cm / £7,200 inc VAT
Marina Abramović is one of the world’s leading performance artists. She consistently tests the limits of her own physical and mental endurance in her work, withstanding pain, exhaustion and danger in her quest for emotional and spiritual transformation. Her performances push the boundaries of selfdiscovery - not just of herself but also of her audience. While she is best known for her performances, Abramović also works across various artistic forms, including photography, mixed media, and screen prints. Her visual works often complement her conceptual explorations, offering audiences a different lens through which to engage with her ideas. They translate her themes of endurance, presence, and transformation into a tangible medium.
Marina Abramović
Tree
Artwork given by artist in support of Platform Earth Air-ink screenprint on recycled paper. Framed Framed / 59.4 x 42 cm / £4,200 inc VAT
Mark Wallinger
Mark Wallinger is one of the UK’s leading contemporary artists. Having previously been nominated for the Turner Prize in 1995, he won in 2007 for his installation ‘State Britain’. His work ‘Ecce Homo’ (1999–2000) was the first piece to occupy the empty plinth in Trafalgar Square. He represented Britain at the Venice Biennale in 2001. ‘Labyrinth’ (2013), a major and permanent commission for Art on the Underground, was created to celebrate 150 years of the London Underground. In 2018, the permanent work ‘Writ in Water’ was realised for the National Trust to celebrate Magna Carta at Runnymede, and ‘The World Turned Upside Down’ was unveiled in 2019 for the London School of Economics.
Wallinger’s work often challenges viewers to reconsider familiar symbols by engaging with history, politics, and the human condition. Through bold and conceptual imagery, Wallinger’s screen prints serve as a reflection of his broader artistic practice, inviting audiences to question narratives. His methodology is deeply rooted in self-representation and mark-making, which he combines with visual impact.
Artwork given by artist in support of Platform Earth Air-Ink on recycled paper
42 x 59.4 cm / £3,540 inc VAT
Mat Chivers
Mat Chivers was born in Bristol, UK in 1973 and studied sculpture at The Nottingham Trent University, UK and Escuela de Belles Arte, Barcelona, Spain from 1993-96. An extended period of travel followed, where he trained in sustainable farming and building practices in Europe and North Africa, culminating in a solo journey overland to India where he spent time living in the Himalayas. He returned to the UK in 1999 and established a studio in the Southwest of England. He lives and works between Devon, UK and Québec, Canada
Chivers’ work looks at some of the relationships between human and morethan-human consciousness, ecology and evolutionary processes by bringing traditional handmade approaches to making into counterpoint with cuttingedge technologies. Collaborations with researchers in the fields of science, academia and culture are at the core of his practice, brought together by a shared desire to make the connections between the unseen seen. Through his focus on environmental processes and phenomena, he looks at the metamorphic impact of emergent technologies on both our own evolution, and consequently, on the global ecosystem of which we are a part. The sculptures, drawings, films and performances that results from these dialogues are a personal and instinctive reflection on the entanglement of our own nature with the wider ecologies that constitute life on Earth.
Chivers is also the curator of ‘Self-Similar’.
Editions of 5 + 2 Aps / 160 x 130 cm / £9,800 inc VAT
Etiology (H)
Dry pastel on Bockingford ivory 400 gsm paper
Editions of 5 + 2 Aps / 160 x 130 cm / £9,800 inc VAT
Etiology (I)
Dry pastel on Bockingford ivory 400 gsm paper
Editions of 5 + 2 Aps / 160 x 130 cm / £9,800 inc VAT
Etiology (J)
Dry pastel on Bockingford ivory 400 gsm paper
Etiology (B)
Dry pastel on Bockingford ivory 400 gsm paper
Editions of 5 + 2 Aps / 160 x 130 cm / £9,800 inc VAT
Editions of 5 + 2 Aps / 160 x 130 cm / £9,800 inc VAT
Etiology (E)
Dry pastel on Bockingford ivory 400 gsm paper
Editions of 5 + 2 Aps / 160 x 130 cm / £9,800 inc VAT
Etiology (G)
Dry pastel on Bockingford ivory 400 gsm paper
Ontogenesis (A)
Ontogenesis (B)
Ontogenesis (C)
Ontogenesis (D)
Becoming Field (A) 2025
Pencil on Fabriano Artistico 300 gsm paper
Editions of 5 + 2 Aps / 80 x 60 cm / £4,260 inc VAT
Becoming Field (B) 2025
Pencil on Fabriano Artistico 300 gsm paper
Editions of 5 + 2 Aps / 80 x 60 cm / £4,260 inc VAT
Becoming Field (C) 2025
Pencil on Fabriano Artistico 300 gsm paper
Editions of 5 + 2 Aps / 80 x 60 cm / £4,260 inc VAT
Becoming Field (R) 2025
Pencil on Fabriano Artistico 300 gsm paper
Editions of 5 + 2 Aps / 80 x 60 cm / £3,780 inc VAT
Becoming Field (G) 2025
Pencil on Fabriano Artistico 300 gsm paper
Editions of 5 + 2 Aps / 80 x 60 cm / £3,780 inc VAT
Becoming Field (B) 2025
Pencil on Fabriano Artistico 300 gsm paper
Editions of 5 + 2 Aps / 80 x 60 cm / £3,780 inc VAT
Nadine Talalla
Nadine Talalla is a Painter from Australia and Malaysia based in London. She was educated in Malaysia, Australia, China and United Kingdom. She has completed a Foundation in Chinese Painting and Cultural Studies from Beijing Language & Cultural University, a Bachelor of Fine Art, Painting, at The Royal Melbourne Institute of Technology (RMIT) in 2004 and a Master of Arts Management at The University of Melbourne in 2006. In 2016, she completed the Turps Banana Studio Programme and undertook a mentorship under the esteemed painter Peter Ashton Jones.
In Talalla’s own words: ‘I grew up suspended between cultures and raised by strong women and their stories. Influenced by Contemporary and Historical Women Artists from Nicole Eisenman to Sofia Anguissola and haunted by women on the walls of museums, I paint women from a woman’s perspective and push women - centuries forgotten or relegated to subordinate roles - to the fore by placing them as the subject not the object.’
Artwork given by artist in support of Platform Earth
Serpent
Air-Ink screenprint on recycled paper / 88 x 42 cm
£2,940 inc VAT original unframed / £3,540 inc VAT framed
Noémie Goudal
Noémie Goudal (b.1984) graduated from the Royal College of Art (UK) in 2010 with an MA in Photography. She was shortlisted for the Prix Marcel Duchamp 2024. Recent solo exhibitions include Tilt, The Dock, County Leitrim, UK (2025); Contours of Certainty, Mostyn, Llandudno, UK (2024); ANIMA, Tate Modern, London, UK; Venice Theatre Biennale, Venice, Italy and Centre Pompidou, Paris, France (2023). Goudal’s work is held in public collections including Centre Pompidou, Paris, France; David Roberts Art Foundation, London, UK; FOAM Museum, Amsterdam, The Netherlands; High Museum of Art, Atlanta, USA; Kadist Art Foundation, Paris, France; Kiran Nadar Museum of Art, New Delhi, India, the Victoria & Albert Museum, London, UK and The New Art Gallery Walsall, Walsall, UK. Noémie Goudal lives and works in Paris.
Noémie Goudal’s practice involves the construction of ambitious staged, illusionistic interventions within the landscape, documented using film and photography. Her oeuvre expands photography across its standard parameters, into immersive installations and performances, underpinned by rigorous research examining the intersection of ecology and anthropology and the limitations of theoretical conceptions of the natural world. Goudal’s latest work unravels an artistic dialogue with the field of paleoclimatology, analysing climate and geology from the vantage point of “deep time” to acquire an understanding of our planet’s trajectory. Goudal’s work creates an intellectual bridge between our experience of “real time” and deep time, measured in millions of years, exposing the geographies of the earth as we know them to be mere momentary states in a cycle of continuous flux.
White Pulse I 2023
Inkjet Print
Edition 4 of 5 / 60 x 45.2 cm
Framed price: £13,000 inc VAT
White Pulse II
Inkjet Print
Edition 1 of 5 / 60 x 45.2 cm
Framed price: £13,000 inc VAT
Peter Liversidge
Peter Liversidge was born in 1973 in Lincoln, UK. Liversidge is conceptually focused, with each artwork beginning with him writing a proposal on his typewriter – only a select few are physically realised. His works spans photography, collage, sculpture and performance, and Liversidge’s approach invites collaboration and is subsequently formed by influences beyond his control; his artworks are investigations of coincidence and not limited to the language of a single medium.
Winter Drawings
Left: 15 vs 21 / Right: 18 vs 21
4th January 2021
Masking tape, book endpapers Framed dimensions 40.2 x 33cm each for the diptychs £9,000 inc VAT
Winter Drawings
Left: 18 vs 17 / Right: 19 vs 20
7th January 2021
Masking tape, book endpapers Framed dimensions 44 x 37.2 cm each for the diptychs £9,000 inc VAT
Winter Drawings
Left: 4 vs 7 / Right: 6 vs 7
13th January 2016
Masking tape, book endpapers
Framed dimensions 38.1 x 30.4 cm each for the diptychs £9,000 inc VAT
Winter Drawings
Left: 9 vs 11 / Right: 10 vs 9
1st January 2015
Masking tape, book endpapers
Framed dimensions 30.3 x 26.2 cm each for the diptychs £7,200 inc VAT
Collection V (Stockholm)
Effigy
Found stones, archival glue, steel stands, shelf 52 x 62 x 40cm / £14,400 inc VAT
Rachel Howard is a British painter, who has exhibited nationally and internationally for the past 3 decades, and whose works are held in public and private collections worldwide. She was born in 1969, in County Durham, England, and graduated from Goldsmith’s College in 1991 with a degree in Fine Art and Critical Theory. Howard plays with the tensions between control and chaos, order and entropy, making and unmaking, beauty and destruction. She revels in the sheer joy of her material. The intense physicality of her process grapples with notions of uncertainty, fragility, beauty and horror. Religion, repetition, mortality, madness and violence are recurring themes in the work.
Rachel Howard
9 Carbon Roses 2022
Artwork given by artist in support of Platform Earth Air-Ink on Recycled Paper
52 x 41 cm / £6,480 inc VAT
Sam Lock was born in London and now lives and works near Brighton with his studio in a converted industrial unit further up the coast. Lock studied at Edinburgh College of Art and Edinburgh University, graduating in 1997 with MA’s in both Fine Art and Art History. During his training, he won a scholarship to travel to Rome, and explored the relationship between history, archaeology and the processes of painting, a preoccupation which still forms the conceptual basis that underpins his practice.
Lock’s considered and expressive, often large scale, abstract paintings embrace the principle that change is a process not an event. A meditation on the continual flow and movement both around us and within us inspires each gesture. They are not made with a system or fixed process but through an energy that embraces both change and chance, in a manner that is both organic and unscripted, following its own path until there is a balance between presence and absence. Lock is interested in marks, resulting in paintings, that communicate both instantly and slowly - to slow down perception, and to create forms that don’t reveal themselves fully, all at once, through a filling up and emptying of space and surface. These layers allow you to swim in and out of the painting, they lead back in time, retaining a mystery and dynamism of the moment rather than a recollection of a misty lost past.
Sam Lock
Mixed Media on Canvas
x 240 cm / £20,000
Blue (Ring) 2025
Mixed Media on Panel 25 x 20 cm / £2,000 i nc VAT
Blues Scattered 2025
Mixed Media on Panel 25 x 20 cm / £2,000 inc VAT
Three Blues 2025
Mixed Media on Panel 25 x 20 cm / £2,000 inc VAT
All Else Flies
Mixed Media on Canvas 70 x 70 cm / £7,000 inc
The Start of Everywhere 2024
Mixed Media on Canvas
200 x 220 cm / £21,000 inc
Sarah Staton
Sarah Staton is a visual artist who devises ways to play with the social potentials of art. Staton explores this interest through exhibitions and public commissions, working in series across painting, sculpture, and drawing.
Her ongoing series ‘anti-paintings’, which began in the 1990’s, was presented in ‘The Masses’ at Galerina, London in 2024, and new work from this series will be presented at Basel Liste in 2025. Recent paintings were shown in a solo presentation ‘Wonderful’ at UNICEF, Innocenti, Florence in 2024. Her weather drawings series was exhibited at the House of St Barnabas in 2023. Recent public commissions include bespoke artwork created for three sites in West London for the Tideway. She is represented in a number of collections including Arts Council UK, British Museum Prints and Drawings, Henry Moore Institute, South London Gallery and Tate, as well as in private collections across the world. Staton has recently served as the Head of Sculpture at the Royal College of Art, London.
Her durational shop-as-artwork SupaStore (established 1993) curates contributions by other artists in pop-up displays at institutions worldwide. Most recently the SupaStore has popped up at Tinguely Museum, Basel (2024/5); A+A Gallery, Venice (2022); Cylinder Gallery, Seoul (2021); South London Gallery, (2021); Nida Art Colony, LT (2020).
Cloud Dust
Air-Ink on Recycled Paper / 88 x 42 cm
Shezad Dawood
Shezad Dawood was born in London in 1974 and trained at Central St Martin’s and the Royal College of Art before undertaking a PhD at Leeds Metropolitan University. Dawood is a Research Fellow in Experimental Media at the University of Westminster. He lives and works in London. Recent solo exhibitions and commissions include: A Garden of the Floating World, Jhaveri Contemporary, Mumbai (2025); Leviathan, Salisbury Cathedral, Salisbury (2023); Night in the Garden of Love, Inspired by & featuring Yusef Lateef, Aga Khan Museum, Toronto (2023); Night in the Garden of Love, Inspired by & featuring Yusef Lateef, WIELS, Brussels (2023).
Dawood interweaves stories, realities and symbolism to create richly layered artworks, spanning painting, textiles, sculpture, film and digital media. Fascinated by ecologies and architecture, his work takes a philosophical approach, asking questions and exploring alternative futures through what Dawood describes as ‘world-building’. His practice is animated by research, working with multiple audiences and communities to delve into narrative, history and embodiment.
Terrarium Study
Artwork given by artist in support of Platform Earth Air-Ink on Recycled Paper 42 x 59.4 cm / £2,400 inc VAT
Simon Averill
Simon Averill is a British artist born in Brighton, England in 1961. He currently lives and works near Marazion in West Cornwall. Averill studied Fine Art at Brighton Polytechnic and graduated with Honours. In 1986 he established a Printmaking Workshop near Penzance, Cornwall, which he ran until 1990. From 1989 until 2020 he was a part time lecturer at Falmouth University specialising in painting and drawing. He has been a member of the Newlyn Society of Artists since the late 1980s. In 2020 he was recipient of the Howden Award in the Wells Art Contemporary and was shortlisted for the Contemporary British Painting Prize in 2024. Averill has exhibited widely with exhibitions in the UK, Europe and USA.
Averill’s has always focused on the minutiae, the overlooked, the unseen. In his latest series of paintings, started in 2016, he has been exploring the relationship between art and science. He is particularly interested in the phenomena of quantum entanglement - the extraordinary behaviour of fundamental particles, their particle/wave duality, and their ability to interact; to be ‘entangled’, over vast distances. Scientists accept there is much that is unknown or misunderstood about Quantum Entanglement. It is this uncertainty that Averill utilises to imagine and explore. A physicist might say that form and colour do not, indeed cannot, exist at the fundamental level. As an artist Averill is not bound by these physical constraints; he feels he has permission to misunderstand; to go beyond the physics; to make space for imagination and art.
Entanglement 7 2025
Acrylic on Panel
40 x 40 cm / £2,400 inc VAT
Entanglement 96 2025
Acrylic on Panel
40 x 40 cm / £2,400 inc VAT
Entanglement 25 2025
Acrylic on Panel
40 x 40 cm / £2,400 inc VAT
Entanglement 113 2025
Acrylic on Panel
40 x 40 cm / £2,400 inc VAT
Entanglement 166 2025
Acrylic on Panel
40 x 40 cm / £2,400 inc VAT
Entanglement 171 2025
Acrylic on Panel
40 x 40 cm / £2,400 inc VAT
Entanglement 169 2025
Acrylic on Panel
40 x 40 cm / £2,400 inc VAT
Entanglement 174 2025
Acrylic on Panel
40 x 40 cm / £2,400 inc VAT
Entanglement 175 2025
Acrylic on Panel
40 x 40 cm / £2,400 inc VAT
Entanglement 181 2025
Acrylic on Panel
40 x 40 cm / £2,400 inc VAT
Entanglement 180 2025
Acrylic on Panel
40 x 40 cm / £2,400 inc VAT
Entanglement 182 2025
Acrylic on Panel
40 x 40 cm / £2,400 inc VAT
Entanglement 185 2025
Acrylic on Panel
40 x 40 cm / £2,400 inc VAT
Entanglement 194 2025
Acrylic on Panel
40 x 40 cm / £2,400 inc VAT
Entanglement 193 2025
Acrylic on Panel
40 x 40 cm / £2,400 inc VAT
Susan Derges
Susan Derges (born 1955, London) completed her Postgraduate studies at the Slade School of Fine Art before moving to Japan, where she continued her research at Tsukuba University. She is a Visiting Professor in Photography at the University of Plymouth. Her work has been exhibited in numerous international exhibitions and collections holding her work include the Museum of Fine Arts Houston, the Brooklyn Museum, and the Victoria & Albert Museum.
Her work in ‘Self-Similar’ explores water and the many forms that arise out of it. Derges considers the relationship between humanity’s own ever transient states, and that of water – both are equally alive and changing. Her pieces thus bring this connection between human nature and the earth to the forefront. They remind the viewer of the sublime that is all around and encourage the viewer to recognise the sublime within themselves.
Gibbous Moon Bridge 2018
Edition of 6
Polymer photogravure with chine colle
(paper) 34 x 21 cm, (image) 16.7 x 9.2 cm / £900 inc VAT
Edition of 6
Polymer photogravure with chine colle
(paper) 34 x 21 cm, (image) 16.6 x 8 cm / £900 inc VAT
Hawthorne
Edition of 6
Polymer photogravure with chine colle
(paper) 34 x 21 cm, (image) 16.5 x 7.9 cm / £900 inc VAT
Willow 2018
Edition of 6
Polymer photogravure with chine colle
(paper) 34 x 21 cm, (image) 16.5 x 7.5 cm / £900 inc VAT
1998 - 2020
River Taw Hawthorne
Edition of 2
Lambda C print from dye destruction print
170.2 x 61 cm / £15,360 inc VAT
River Taw Streen Gold Alder
Edition of 2
Lambda C print from dye destruction print
170.2 x 60.2 cm / £15,360 inc VAT
Seed Constellation 2
Edition of 3
C type Lambda on Fujichristal archive paper
122 x 122 cm / £15,360 inc VAT
Suzanne Treister
Suzanne Treister (b.1958 London) studied at St Martin’s School of Art, London (1978-1981) and Chelsea College of Art and Design, London (1981-1982). She is now based in London having lived in Australia, New York and Berlin. Initially recognized in the 1980’s as a painter, she became a pioneer in the digital/new media/web-based field from the beginning of the 1990’s, making work about emerging technologies, developing fictional worlds and international collaborative organisations. Utilising various media, including video, the internet, interactive technologies, photography, drawing and watercolour, Treister has evolved a large body of work which engages with eccentric narratives and unconventional bodies of research to reveal structures that bind power, identity and knowledge. Often spanning several years, her projects comprise fantastical reinterpretations of given taxonomies and histories that examine the existence of covert, unseen forces at work in the world, whether corporate, military or paranormal. An ongoing focus of her work is the relationship between new technologies, society, alternative belief systems and the potential futures of humanity.
HEXEN 5.0 / Historical Diagrams/From the Golem via Deep Learning to Machine
Colonisation of the Multiverse 2023-25
Digital print / Edition 1 of 15 / 119 x 84.1 cm Framed
inc VAT / Unframed £3,600 inc VAT
HEXEN 5.0/TAROT Wands
2023-25
Digital prints / 14 Works / Edition 1 of 15 / 42 x 29.7 cm
Framed £14,760 inc VAT / Unframed £14,400 inc VAT
Tom Jean Webb
Tom Jean Webb is a multidisciplinary artist living and working between London, UK and Austin, Texas. Webb attended Kingston University in London and graduated with First Degree Honors in 2007. He has exhibited solo shows in various galleries internationally, including Ivester Contemporary in Austin, Texas; Circle Culture in Hamburg, Germany; and Brooke Benington in London, England.
There is a sweeping romantic narrative arc to Tom Jean Webb’s practice of the last twenty years. As a child, he dreamt of the old American West - of folk heroes, wild plains and the setting sun staining the sky pink behind snowcapped mountains. As an artist in London in his twenties, he painted idealised visions of this world, compulsively covering canvas (and his own body) with the images he dreamt of. And then, leaving his old life behind, he committed to the relationship and stepped into the landscape he had obsessed over for so long. Living and working in Texas, Webb’s work began to evolve, less focused on a fantasy of an imagined place and more a reflection of a true relationship between himself and the landscape, and a wider interest in the finely balanced relationship between humanity and the natural world.
I am the stars, you are the light 2023
Acrylic, oil paint, oil pastel on canvas
111.8 x 86.4 cm / £4,800 inc VAT
Where is my jungle 2023
Acrylic, oil paint and oil pastel on canvas
76.2 x 55.9 cm / £3,000 inc VAT
Catch My Lust
Acrylic, oil pastel, oil paint and air dry clay on canvas
50 x 50 cm / £3,000 inc VAT
Oil paint on deer hide
Will Cruickshank
Will Cruickshank (b. 1974) creates tactile and often textile-based sculptures that are visually harmonious in form, pattern and colour. Using repurposed equipment such as cement mixers, bicycles and potter’s wheels, his practice harnesses the repeating nature of these machines to sculpt, wrap and turn his materials into forms that are only in part determined by himself. Material, machine, and maker, each take their turn in leading or resisting outcomes and it is a sensitivity to this push and pull that drives the work.
Echoed within the harmony, order and structure of his minimal forms is the meditative nature of his methodology, that has grown through a devotional engagement with material and process. Highly skilled at making and mending, a philosophy for perseverance and resilience sustains Cruickshank’s resourceful approach to creating, where nothing is discarded and there are no loose ends. His interest in unusual combinations of material means waste often becomes useful, and offcuts, failures, and accidents can be fed back into new pieces. Surfaces are eroded, cut open, or blasted away, to reveal their constituent ingredients, with every finished work providing a new set of questions.
Yarn, thread, wood, steel cable
132 x 87 x 6.5 cm / £10,000 inc VAT
Code Stick No.4
2023
Mixed yarn, thread, wool
96 x 12 x 9 cm / £3,750 inc VAT
Code Stick No.2
2022
Mixed thread and yarn
235 x 14 x 9 cm / £5,835 inc VAT
Many thanks to our sponsors:
MarGin
And all the galleries who have collaborated with us on this exhibition:
3DDC
Anima Mundi
Annely Juda
Bo Lee and Workman
Brooke Benington
Edel Assanti
Kate MacGarry
Platform Earth
Purdy Hicks
Paul Smith Space, found downstairs at 9 Albemarle Street, is a dedicated gallery presenting artwork which resonates with the company’s ethos of creativity, individuality, and curiosity. A full programme of exhibitions will see Paul Smith Space change periodically throughout the year, each time introducing an exciting new array of work.
