Hannah Murray at Ginny on Frederick
Exhibition text
‘Murray’s artistic process begins with photographs of real friends, but once she starts painting, the figures drift from their referents. Working in oil, she draws on historical portrait techniques: a blue underpainting is followed by thin, translucent layers that slowly build the face. The blue radiates through the painted layers, giving the skin a luminescence closer to screen-glow than daylight. Her subsequent glazing smooths the features into a finish the human face rarely achieves. The skin seems to collect light like lacquer. ‘
Exhibition text
‘Murray’s artistic process begins with photographs of real friends, but once she starts painting, the figures drift from their referents. Working in oil, she draws on historical portrait techniques: a blue underpainting is followed by thin, translucent layers that slowly build the face. The blue radiates through the painted layers, giving the skin a luminescence closer to screen-glow than daylight. Her subsequent glazing smooths the features into a finish the human face rarely achieves. The skin seems to collect light like lacquer. ‘
Hannah Tilson at Cedric Bardawell
Exhibition text
‘Fabric is never still. It folds and unfolds, endlessly turning back into itself and into the materials of the world. Italian theorist Giuliana Bruno reminds us that architecture is not only about fixed form, but about the surfaces that mediate our bodily encounter with the environment. Walls, draperies, and textures act as thresholds between inner and outer, body and world. In Staged Surfaces, Hannah Tilson’s practice moves within this porous terrain, between drawing, installation, painting, fabric, and patterns that become not separate modes but entangled threads in a meshwork of living surfaces.’
Exhibition text
‘Fabric is never still. It folds and unfolds, endlessly turning back into itself and into the materials of the world. Italian theorist Giuliana Bruno reminds us that architecture is not only about fixed form, but about the surfaces that mediate our bodily encounter with the environment. Walls, draperies, and textures act as thresholds between inner and outer, body and world. In Staged Surfaces, Hannah Tilson’s practice moves within this porous terrain, between drawing, installation, painting, fabric, and patterns that become not separate modes but entangled threads in a meshwork of living surfaces.’
Noah Beyene at The Bridge Gallery, Paris
Exhibition text
“Sweden is a nation of striking contradictions. Celebrated for its liberal ideals, social welfare, and cultural traditions, it is simultaneously grappling with the rise of the far-right Sweden Democrats, a party that has fuelled anti-immigrant sentiment. Noah Beyene was born to a Swedish mother and an Ethiopian father, and growing up in Stockholm, he never quite felt “Swedish enough”, a sense of displacement that informs the deeply reflective work presented in this exhibition.”
Exhibition text
“Sweden is a nation of striking contradictions. Celebrated for its liberal ideals, social welfare, and cultural traditions, it is simultaneously grappling with the rise of the far-right Sweden Democrats, a party that has fuelled anti-immigrant sentiment. Noah Beyene was born to a Swedish mother and an Ethiopian father, and growing up in Stockholm, he never quite felt “Swedish enough”, a sense of displacement that informs the deeply reflective work presented in this exhibition.”
