Le Petit Salon

Le Petit Salon

THE TAGLI LE PETIT SALON

Released in conjuction with Le Petit Salon. A group exhibiton featuring Lucrezia Abatzoglu, Alexander Aitken, Karolina Albricht, Katherine Allen, Jared Boechler, Polina Filippova, Luca Guarino, Oliver Hoffmeister, Evie Mae Jacobs, Kris Lamorena, Christie Lau, Chris Mann, Henry Miller, Katerina Murysina, Jon Ridge, Lottie Stoddart, Andreas Stylianou, Geoff Uglow, Francesca Van Haverbeke, Corrie Wingate, Tom Woolner and Yique

12th - 17th March 2024

Dimitrios

Please contact us for any further details and enquiries

Le Petit Salon

Essay by Hector Campbell

In 1667, a group of recent graduates from France’s prestigious École des Beaux-Arts were invited to exhibit in the Louvre Palace’s historic Salon Carré gallery space. The exhibition would quickly become a much-anticipated annual event, known mononymously as the Salon. A marker of emerging success and royal-stamped status amongst French painters and sculptors, the exhibitions were hosted by national institution of art patronage the Académie des BeauxArts and selected by a juried panel of illustrious artists and eminent invitees, after welcoming open submissions since the late 18th century. Government sponsorship was eventually withdrawn from the exhibition in 1881, following the rise of splinter Salons such as the now infamous Salon Des Refuses (‘Exhibition of Rejects’) which included artworks rejected from the main exhibition due to their then avante-garde style or subject matter. These alternative editions readily embraced the rise of movements such as Impressionism in the late 19th century and eventually overshadowed the original in popularity, considered by that time to be antiquated and out of touch with artistic sensibilities.

However, the Salon’s two centuries of success at the forefront of France’s artistic landscape led to the popularisation of many phrases and concepts which are still widely recognisable in the art industry today. Artworks hung in floor-to-ceiling abundance across almost every inch of wall space available became known as a Salon-style hang; modern art criticism was born after commentative reviews of the yearly presentations began to be published in Parisian newspapers and journals; and an Open Call process of artist selection remains a time-honoured traditional and one utilised by The Tagli to discover a proportion of the artist’s on display as part of their latest exhibition ‘Le Petit Salon’, alongside others invited by the gallery’s team.

A homage to its Parisian predecessor, ‘Le Petit Salon’ focuses particularly on artworks made on a smaller scale, for which there is equal historical precedent as to their power and prominence. See, for example, 16th-century cabinets of curiosities, also known colloquially as wonder-rooms. These comprehensive collections of art and antiquities - which commonly included objects of geological or biological importance, archaeological finds and religious relics alongside preeminent works of art and literature - occupied small private rooms in palaces, castles and manors throughout Renaissance Europe, and served as the encyclopaedic precursors to many a modern museum collection. The prevalence and prestige of such cabinet rooms gave rise to a trend of corresponding cabinet paintings, artworks of smaller size that still typically depicted full figures, landscapes or large-scale scenes, their subject matter not limited by the diminution of the works themselves. In fact, due to the necessary precision and skill needed in their painting - perhaps best epitomised in examples by Raphael or Elsheimer - these artworks were equally as sought after and lauded as their larger counterparts.

In keeping with the variety found in classical Renaissance wonder-rooms, The Tagli’s exhibition presents paintings both figurative and abstract; sculptures of aluminium, ceramic and sterling silver; reliefs in resin and concrete; drawings adjacent to photographs; and moving image artworks alongside monoprints. And just like their cabinet antecedents, the reduced size of each artwork by no means diminishes their ability to tackle large concepts. Luca Guarino’s drawings explore the ever-increasing impingement of the digital on our physical world; Chriss Mann’s photographs expose the finest of lines between reality and imagination; and Yique’s public interventions and their subsequent documentation offer much-needed criticism of systemic societal failings.

Elsewhere, artists embrace the sentimentality of the smaller scale to spotlight those mundane everyday moments of subtle significance, such as Polina Filippova’s moving image studies of often overlooked acts of service; Katerina Murysina’s search for unique yet universal shared experiences; or Katherine Allen’s contemplation of daily domesticity. Other exhibited artists employ the smaller stature to play with perceived compositional constraints, such as Kris Lamorena’s ceramic portraits that become devotional and shrine-line thanks to their size; Lucrezia Abatzoglu’s experimentation with the traditional boundaries of the picture plane to imply unseen expansion or convey confinement; and Evie Mae Jacobs cropped compositions of suggestive surfaces that elicit instant intimacy.

Indeed, what all the artworks included in ‘Le Petit Salon’ have in common is their capacity for prolonged, personal engagement. Viewer and viewed meet each other on equal footing, the audience encouraged to lean in, inspect and interact with artworks that evoke attention precisely because of their shared scale, not in spite of it.

Lucrezia Abatzoglu

b.1992, Rome currently lives and works in London

Abatzoglu’s paintings embody silence as a poetic element, establishing a tangible connection with an unattainable reality. Soft touches and atmospheric qualities evoke traditional marble sculp- tures, conveying fluidity and undulating forms reminiscent of the female body. These figures captivate our gaze, prompting contemplation of their dual roles as subject and object. Through a visual dialogue, the entities invite the viewer to actively participate in the artwork. Within the spaces, ambiguous compositions emerge, oscillating between the confinement and expansion of the frame. The bodies portrayed exude a sense of monumentality as they explore the potential to transcend their physicality and become something more than mere bodies. They echo a theatre of absences, prompting questions of identity and belonging. As volumes dissolve into flat backgrounds, viewers activate their imaginations, finding personal and private routes.of absences, prompting questions of identity and belonging. As volumes dissolve into flat backgrounds, viewers activate their imaginations, finding personal and private routes.

InTheRealmofMirrors,WhereReflectonsPlay,A SilverEnchantment,ForeverToStay, 2023 183 gr Sterling Silver & Two blue Sapphires 10

Lucrezia Abatzoglu

Lucrezia Abatzoglu

Clip-ClopontheHorse, 2022

Oil on canvas 22 x 30 cm 8 5/8 x 11 3/4 in

Alexander Aitken

b.1994, Kent currently lives and works nomadically

Alexander Aitken is a Ceramic Sculptor and Draftsperson. Their creative process is a fusion of fantastical automatic drawing and sculpting techniques, guiding viewers on a journey to unearth, subvert, and dismantle conventional subjects. At the heart of their work lies the concept of encounter, viewed through a lens of the meta-modern and a belief in negative capability. Their practice is tactile and haptic, with themes that traverse unpredictably across the spectrum, whether situated in an apparent present, a discovered history, or a speculative future.

Aitken’s work is anchored in the remix of observation and conversation, resulting in a shuffled re-amplification of the world around us, intentionally slipping into a shadow landscape. Concerned with the subtle, lost or unnoticed narratives and emotions of our environment and society, their creations aim to serve as eccentric nodes, prompting audiences to question and heighten awareness of the unnoticed fundamentals of their local situations.

Imagery explores a spectrum of themes, from primal forces like sex and violence to the complexities of religion, power dynamics, and love. Scenes oscillate between turmoil and romance, delineating shifting hierarchies amidst backdrops of blood, passion, and mysticism. Amidst the grit of labor and societal expectations, pleasure and pain entwine in a dark fantastical kaleidoscope of human experience.

Yet within this chaotic tableau, hints of benevolence and misguided intentions emerge, juxtaposed against moments of inertia and apathy.

While the collection may lack a cohesive narrative, it invites viewers to embark on a journey of gradual revelation, where each character assumes fluid symbolism and an evolving presence, their roles ever-shifting against the backdrop of the mosaic’s intricate design.

Alexander Aitken Foliageinfervor , 2024 Ceramic

20 x 27 cm

7 7/8 x 10 5/8 in

Alexander Aitken Foundamongstfrond,2024 Ceramic 20 x 27 cm 77/8x105/8in

Alexander Aitken Nighttimeamongstthekalegarden, 2024 Ceramic

15 x 19 cm

5 7/8 x 7 1/2 in [x2]

Karolina Albricht

b.1983, Krakow, Poland currently lives and works in London.

Karolina Albricht sees painting as an opening, stretching beyond optical perception. Its process is driven by curiosity – a desire to see what is possible, and a desire to search and maintain this sense of potentiality. Her work probes reciprocity of colour, shape, line and texture, and their responsiveness to the painting’s edges. Albricht attempts to generate an active space, a visual environment which can be perceived and responded to through one’s intellectual and physical faculties, through the sum of one’s senses. She is interested in the interrelation of the body, its movement, and the space it occupies, and the transference of these relationships to the pictorial field. What she is searching for in painting is a dislocation – a glimpse of a possibility, the very edge of seeing and unseeing.

Karolina Albricht M for Machinations, 2023 Oil on panel

18 x 14 cm

7 1/8 x 5 1/2 in

Karolina Albricht SeismicCorruption, 2022 Oil and other stuff on panel

18 x 14 cm

7 1/8 x 5 1/2 in

Katherine Allen

b.1984 currently lives and works in Sussex

Primarily a figurative artist, Katherine Allen’s work focuses on women, domesticity and motherhood. Her work reflects her current stage in life and is a way for her to explore the delicate balance between her multiple roles as mother, professional and artist.

Allen’s works are monotypes - unique one-off prints. She enjoys the printmaking process and how it removes her control over the final image. It also gives the works their unusual markings and blurry textures.

Katherine Allen

Unexpectedconnections, 2024 Monotype in oil (1 of 1)

15 x 20 cm

5 7/8 x 7 7/8 in

Katherine Allen

I’mpreparedtobedevastatedbyyou, 2024 Monotype in oil (1 of 1)

21 x 28 cm

8 1/4 x 11 in

Jared Boechler

b.1995, Canada currently lives and works in Canada

Jared Boechler is a contemporary visual artist based out of Canada. He works and exhibits internationally, including New York, Asia, and Europe. He has recently been awarded working fellowships at Serlachius Museum, Finland, Sheen Center for Thought + Culture in New York, USA and Art Biotop, Japan.

Boechler was recently recognized at the Governor General History Awards for his work, presided over by the Honourable Governor General of Canada, as well as presenting as the youngest exhibiting artist at NordArt, Germany. Using traditional methods in sharp contemporary context, Boechlers work challenges views of loneliness and isolation with an often subtle execution, resulting in works depicting circumstances that are at once banal and dramatic.

Boechler’s most significant exhibition to date paired custom-designed scents alongside the original oil paintings they inspired. The olfactory element attached to this body of work introduced a largely new method of working in the world of contemporary art; a process led by scent influence. His current practice involves the use of traditional, installation, and olfactory art.

Jared Boechler

Mirror I, 2023

Oil on linen

19 x 17 cm

7 1/2 x 6 3/4 in

Polina Filippova

b.1991, Russia currently lives and works in London

Polina Filippova is an interdisciplinary artist, working across interactive art, video installation and painting. She uses tools and languages of digital technology to talk about love, loneliness, sense of space, and her body. Filippova makes interactive objects with screens, video installations and performances. Her projects are semi-documental and based on records and catalogs of situations, objects, people, and myself in videos, sounds, texts, 3d-scans, pencil and pastel drawings.

In her work she attempts to uncover the new mental states, interactions and relationships, that appear because of the digital world, but have never been represented and comprehended. Filippova searches for a form that imagines a world where relationships with the digital could be intimate and deep.

SmallThingsIII, 2023

Single-channel video, 2.5x3.5 cm matte screen, microprocessors, velvet 21x31 cm (framed) 2.5x3.5 cm unframed

Polina Filippova

SmallThingsIV, 2023

Single-channel video, 2.5x3.5 cm matte screen, microprocessors, velvet 21x31 cm (framed) 2.5x3.5 cm unframed

Polina Filippova

Luca Guarino

b.1998 currently lives and works in London

Luca Guarino is a multimedia artist working with traditional and digital mediums. He graduated from the Glasgow School of Art in 2020 and from the Royal Drawing School in 2022.

In his drawings he depicts unreal spaces that reflect on a series of quiet conflicts between the internal and external world; a collection of loud thoughts in quiet moments. His subjects are displaced and compressed into uneasy situations marked by a brittle stillness, teetering between the bleak and playful, the anxious and serene. The work can be seen as a system of connections and barriers, whose equilibrium is constantly shifting and settling. Its subjects are at a standstill, trying to connect, or communicate in a reality whose sense of intimacy and immediacy is mediated and obstructed.

Luca Guarino

The Guest, 2022

Pencil on Canvas

15.5 x 13.5 cm

6 1/8 x 5 1/4 in

Oliver Hoffmeister

b.1995, Chesterfield currently lives and works in London

Oliver Hoffmeister is a painter-printmaker. His work focuses on the obscure nature of the imagined image, with particular reference to the artist’s conceived imagery. Pulling influence from the plethora of visual stimuli that we interact with both passively and actively everyday, he allows his subconscious to derive images without a system of hierarchy. Creating art in an act reminiscent of ‘daydreaming’, these images tend to shift and masquerade as something other, whilst remaining self-contained.

Oliver Hoffmeister Greeneye,Blackeye, 2023

Oil on canvas 16 x 25 cm 6 1/4 x 9 7/8 in

Oliver Hoffmeister

Puddle , 2022

Oil on panel

12.5 x 9 cm

4 7/8 x 3 1/2 in

Oliver Hoffmeister RedDrapes , 2022

Oil on board

10.5 x 8.3 cm

4 1/8 x 3 1/4 in

Evie Mae Jacobs

b.1995 currently lives and works in London

With a tender approach to painting, Evie Mae Jacobs’ work focuses on the relationship we have, as humans, to sensory experience. Using the traditional process of painting oil on canvas, she leans into the history of the discipline, whilst embracing contemporary methods of configuring her work.

Jacobs presents the human form as a soft landscape, where diaphanous fabrics and the figure, merge to become one. In exploring both the physical and metaphorical sense of softness, her practice delves into themes of comfort, dreams and human connection in many forms. With an approach that is governed by using slow and soothing techniques, Evie’s work is characterised by having an echo of its process; its own sense of calm.

Evie Mae Jacobs ScarletNights, 2023

Oil on Canvas

20.5 x 20.5 cm 8 1/8 x 8 1/8 in

Evie Mae Jacobs

Melting, 2022

Oil on Canvas 20.5 x 20.5 cm 8 1/8 x 8 1/8 in

Kris Lamorena

b.1977 currently lives and works in Staffordshire

Through her paintings, Kris Lamorena delves into the complexities of identity and representation. Drawing inspiration from personal experiences, cultural influences, and the diverse narratives of individuals, her work celebrates the notion that identity is not fixed or singular, but a multifaceted and ever-evolving construct.

Lamorena’s artistic process involves capturing moments of vulnerability through a combination of realism and imaginative elements to examining what shapes our understanding of self.

Kris Lamorena

ThingsUnsaid , 2024

Glazed ceramic

24.8 x 14.3 x 6.8 cm

9 3/4 x 5 5/8 x 2 5/8 in

Kris Lamorena

I Miss You, 2022

Glazed ceramic

x 12.5 x 5.7 cm

Christie Lau

b.2000, Hong Kong currently lives and works in London

Lau’s paintings are ambiguous spaces straddling reality and the imagined. Having moved away from her home city Hong Kong, the idea of liminality is key for her in unpacking ideas around post-colonial identity, displacement, and the uncanniness of the city environment, specifically London, where she is now situated.

Taking archival and contemporary photographic images of the two cities as a starting point, she weaves in references to historical, colonial events, and various films, music,and cultural references to create semi-fictional spaces in her paintings, offering both a personal and critical view into the lived experience of a nomadic body.

Christie Lau Set , 2023

Oil on canvas

Christie Lau

Nausea , 2023

Oil on canvas

Chris Mann

b.1993, South Yorkshire currently lives and works in London

Visually distilling the space around him, Chris Mann’s work oscillates between the natural and man-made world, creating ambiguous, open-ended images that trigger curiosity, escapism, and invite the viewers imagination to freely wonder. Working predominantly with black and white 35mm film and silver gelatin printing, he processes and hand-prints everything out of his East London darkroom. His work has been exhibited across Europe and featured in various publications globally. In 2022, he was shortlisted for the Palm* Photo Prize, and selected as an emerging European photography talent by GUP magazine. His book ‘Valley of the Moon’ was published in 2023 by Guest Editions.

“For me, photography is all about imagination. I want to use the medium to continually challenge my interpretation of the world, and explore the visual potential at the interzones of its dichotomies: nature and man, light and dark, duality and unity. The darkroom is a crucial and meditative part of this creative process. It’s where I continue to discover a coalescent thread throughout my work, and explore the relationships and possibilities between the images I create.”

Chris Mann

Untitled(Dunedogs), 2021

Fiber based silver gelatin darkroom print 23 x 15.5 cm

9 x 6 1/8 in Edition of 10 (+2AP)

Chris Mann

Untitled(Bedouin), 2021

Fiber based silver gelatin darkroom print 23 x 15.5 cm

9 x 6 1/8 in Edition of 10 (+2AP)

Henry Miller

b.1973, Stoke on Trent currently lives and works in London

The records and pop stars Henry Miller paints are selected for their formal interest and their personal history. It’s a catalogue of obsessions. He works quickly, trying to capture a sense of fun. Both colour and humour are central to his process.

Miller also works as an actor and considers the two activities related. Character, motive, improvisation and gesture. He has an intense interest in people, faces, clothes and attitudes. As he paints, he is remembering and would like the viewer to be entertained, surprised, to discover new things and feel a connection; Where they were when they heard that song. The time and place. The familiar bringing them to their past.

Henry Miller

Jockstrap , 2023

Watercolour and ink on cardboard

15 x 16 x 1 cm

5 7/8 x 6 1/4 x 3/8 in

Katerina Murysina

b.1990 Leningrad, USSR (now Saint Petersburg, Russia) currently lives and works in Berlin

Katerina Murysina’s primary mediums are oils, charcoal, and pencils, through which she creates a foggy world based on memories of events that never occurred.

Starting with design, she initially worked with art objects and installations. However, feeling restricted by the constraints of the real world, Katerina shifted towards illustration, drawing, and painting.

Murysina’s artistic exploration delves into the variations of reality, particularly focusing on how emotions and experiences shape and subjectivize the objective world. In her works, she turns to memories as the foundation of experience, which play a crucial role in shaping one’s perception of reality. Changing over the time, memories serve as reflections of a subjective perspectives.

Katerina Murysina

OnceMaximcamehomeandgotscared, 2023

Jon Ridge

b.1968 Guildford currently lives and works in London

Jon Ridge is interested in a to and fro between figuration and abstraction.

His paintings, although hardly minimal, are however concerned with minimal nudges of elements, the tiny nuances in the bigger picture, that tip the balance and information takes another path.

Although there can often be perceived elements of environments in the work, these are really just convenient structures on which to hang the elements of my experimental play.

Scratching, washing, pouring and rubbing have all served the paint at times, in an attempt to tease out interesting solutions at the biting point of form.

Jon Ridge

Chromatic Nomadic , 2023

Acrylic on canvas on board

23 x 21 cm

9 x 8 1/4 in

Jon Ridge

Unfathum, 2023

Acrylic on canvas

25 x 21 cm

9 7/8 x 8 1/4 in

Jon Ridge

ReturntoListeningLake, 2023

Acrylic on canvas 23 x 21 cm 9 x 8 1/4 in

Jon Ridge

Silent Letters , 2023

Acrylic on canvas

23 x 21 x 2 cm

9 x 8 1/4 x 3/4 in

Lottie Stoddart

b.1989, Cambridge currently lives and works in London

Lottie Stoddart’s works are portals into the subconscious. Her interdisciplinary practice draws on literature, archaeology and childhood, plundering intervals of unfettered creativity, vision and belief. Stoddart layers humorous juxtapositions through materials and techniques; clunky crudity confronts refined sophistication, hard meets soft, reduced economic form abuts intricate detail. These sculptural or illusionistic dioramas exist under their own laws, providing a rostrum on which to enact scenarios that are dream-like converging on the nightmarish. Certain motifs repeat across her works; cartoon clouds intersect like a children’s puzzle, archaeological trenches reveal grave goods, threads weave in and out of monstrous forms, cardboard forests grow in subdued groves. The paintings, sculptures, animations and installations all coalesce to combine the cosy familiar with the uncanny.

Lottie Stoddart

Bodyarmour, 2022

Glazed stoneware and sea glass 13 x 18 x 5 cm

x 2 in

Lottie Stoddart

One foot in the Grave , 2022 Glazed stoneware

in

Andreas Stylianou

b.1990, Cyprus currently lives and works in Cyprus

Stylianou’s artistic practice involves exploring a variety of mediums to give life to a previously dormant world. The work evolves through a succession of pieces that express biographical narratives through popular characters, vibrant colors, and techniques that draw upon his architectural background.

Through a combination of intuitive mark-making and meditative painting techniques, the artworks capture the essence of self in relation to time, intersecting with a retrospective examination of contemporary pop culture. The work invites viewers to join him on a journey of self-discovery and contemplation.

Andreas Stylianou

STARSCREAM: FALLEN COMET, 2023

Iridescent Silver & Black Powder Coated Aluminium

42 x 25 x 18 cm

16 1/2 x 9 7/8 x 7 1/8 in 8 + 2AP

Geoff Uglow

b.1978, Cornwall currently lives and works in Cornwall

Geoff Uglow expresses extraordinary devotion to the enigma that is painting and is driven by the remedy of beauty in nature and love. He is a painter who is wholly in step with the natural world. Out of the turbulent depths of a life lived, he gives harbour to fleeting moments of perceived beauty, in contemplation of painting. And then, into the eddy and flow of wet on wet colour by way of brush or hand, he emulsifies a fathomless feeling with impressions of light and air and motion. These paintings exude a visceral current, forcing you the vessel looking upon them, to experience all six degrees of freedom that your ships motions can handle. But there is warmth and generosity in his approach to work and loyalty on every level. His paintings have a message of promise.

In his wake, Uglow leaves behind him a chronicle; a mellifluous assortment of verse and prose. Mesmerising surfaces and compelling edges recollect the beautiful things once beheld – each carefully-coloured corresponding emotion so freshly and cleanly cast upon a still surface. This painter is empowered with an authority over the medium of paint that allows him to deftly summon it and make it do his bidding. With an ability to handle munificent volumes, whether thick as clay or thin as vapour, he coaxes the medium until all elements coalesce into an exquisitely cultivated landscape of pictorial syntax, and with timing so precise, the harmonious, closing voice of the painting sets firm - perfectly poised - just before it has a chance to disappear forever into an incoherent mire. It is a mythical process.

Geoff Uglow

SeascapeI, 2022

Oil on board

17 x 15 cm (unframed)

6 3/4 x 5 7/8 in

Francesca Van Haverbeke

Haverbeke

b.1988, Tielt, Belgium currently lives and works in London

Van Haverbeke works across drawing, painting, and sculpture, utilising a broad range of sources including observation, art history, folklore, nature and non Western art forms. Having no formal training, her work takes us into a more naive, and sometimes childlike place. Different subjects are reduced to simple linework, often textured and deepened through the use of experimental materials such as concrete, glue, coffee grit, cat litter and debris. The result of her processes are often expressive, spontaneous, born out of quick decisions and chance. The subjects, reduced to their most simple forms, seem imprinted on the surface, reminiscent of historical wall paintings and frescoes, like frozen moments in time, perhaps part of a larger story.

Francesca Van Haverbeke Toot , 2023

Concrete and paint on gesso board 20 x 20 x 5 cm 7 7/8 x 7 7/8 x 2 in

Corrie Wingate

b.1974

currently lives and works between London and Kenya

As an artist, Corrie Wingate’s background in travel photography has significantly influenced her artistic vision as a painter. Wingate’s painting style is heavily influenced by the German expressionists who demonstrated the emotional impact of color on a viewer. Her works often start with a single colour that dictates the tone and mood of the painting, which she then builds upon. She also draws inspiration from the creative expression of children’s artwork and the colour and light of Kenya, where she founded an art centre and lives part time. Recurring themes of place, diaspora, and migration are central to Wingate’s work. She is fascinated by the complex relationships between people and their environments, and how these relationships are shaped by history, culture, and identity. Whether through the use of colour, texture, or symbolism, she aims to create artworks that not only capture the essence of a place or a culture but also convey the emotions and experiences of the people who inhabit them.

Corrie Wingate

DerPapierene(ThePaperMan), 2023

Oil on wooden board 30 x 30 cm

11 3/4 x 11 3/4 in

Tom Woolner

b.1979 currently lives and works in London

Tom Woolner’s work has taken many forms, from large scale sculptural installations, often built on site for specific locations, to solo and collaborative performances, responding to context, that employ humour and slapstick theatrical devices.

More recently, however, he has been making things that come closer to paintings. This new work, made through an intuitive and playful process of pouring, piping and squidging, akin to cookery or amateur cake decorating, allows materials to take control at a molecular level, compressing and comingling into, rather than onto the surface.

Made in reverse and partially blind, semi-viscous liquids slowly or rapidly congeal to agree upon a form that sits somewhere between painting, sculpture and fresco. These surfaces hang proud of the wall, as if excavated from a slice of agate or ancient tablet.

They open portals into, and out of the body, to reveal alternative landscapes and a corporeal meteorology.

Tom Woolner

Bust I, 2022

Acrylic resin and pigment

Photography credit Alastair Levy

Tom Woolner

Bust II, 2022

Acrylic resin and pigment 39 x 25 x 2.5 cm 15 3/8 x 9 7/8 x 1

Photography credit Alastair Levy

Yique

b.1995, China currently lives and works in London

Yique (HanZheng Wang) is a curator and artist, But he often describes himself as a troublemaker and a critical individual who engages with society through absurd and performative artistic interventions. His work aims to explore how art can expand the human perception of social ideologies and states of being, as well as how it can awaken consciousness. One of his frequent sayings is “to do something wrong to make it really strong.”

Influenced by classical Marxism and the Frankfurt School, many of his works have some characteristics of criticism of the system and are shaped by his years of experience as an institutional curator, Yique’s works typically involve a variety of media and elements that consider the construction of space and time, each exploring a key aspect of the human condition.

40 x 50 cm (framed)

15 3/4 x 19 3/4 in

Yique

PerhapsLove, 2023 Photography

40 x 50 cm (framed)

15 3/4 x 19 3/4 in

Yique

PerhapsLove, 2023 Photography

Le Petit Salon

All the artworks above £1000 in this catalogue are available with the option to be purchased with Art Money. In our commitment to making art accessible and supporting artists, we have formed a partnership with Art Money. This collaboration aims to foster a sustainable creative economy. By utilising Art Money, you can promptly enjoy your chosen artwork while conveniently spreading the cost over 10 monthly, interest-free installments.