South, London
Group Exhibition
Tainted Love
Kristin HjellegjerdeBrian Dawn Chalkley, Eileen Cooper, Ben Edge, Roxana Halls, Sally Kindberg, Colm Mac Athlaoich, Tamsin Morse, Mu Pan, Claire Partington, Cheryl Pope, Bethany Stead, Darcy Whent, Caroline Wong, Sverre Bjaertnes Kristin Hjellegjerde Gallery is delighted to present Tainted Love, a group exhibition co-curated by Soheila Sokhanvari and Kristin Hjellegjerde. Borrowing its title from Soft Cell’s 1981 pop hit of the same name, the show explores the complexities of relationships in all their forms – from romantic heartbreaks to unrequited love, fractured family bonds, friendships that fade and internal fracture – tracing a turbulent terrain where intimacy is shaped as much by rupture as by connection. In two feverish paintings, Roxana Halls explores feelings of delirium, precarity and distance. Laughing While Bolting captures a woman running through a rain-slicked street, her laughter complicated by the visible traces of mascara running down her face, suggesting an emotional aftermath which has left her both raw and newly free. Unnatural Women (Clear Mac Red Mac), meanwhile, stages an act of intimacy between two mannequins who perform a connection that is ultimately hollow. Invoking language historically used to marginalise lesbian desire, the work absorbs and inverts this accusation, asking what has been considered 'unnatural': the love itself, or the refusal to recognise it as real. Similarly exploring the tension between surface and interior, public and private self, Caroline Wong's 'vampire' paintings imagine women as unassuming predators, drawing a connection between the vampire's double life and the pressure placed on women to perform. This disconnect is captured in their expressions - the reddish tint to their eyes suggesting something darker held just beneath the surface. Two paintings from her Happy Endings series, each depicting girlfriends of the artist in domestic settings, further explore suppressed rage and the desire for revenge, with subtle details - knives, peelers, bandaged fingers - hinting at latent violence. Questions of desire and control continue in a painting by Tamsin Morse which explores the co-dependent relationship between mother and child, where a daughter is punished for acting on her desire, fracturing both romantic and familial bonds. This instability also echoes in Eileen Cooper's Weather the Storm, where two interlocking figures appear caught between a dance, a struggle and a fall, their connection reflecting imbalance and a need for support. Darcy Whent's surreal works examine the transition between childhood and womanhood, evoking desire, uncertainty and disconnect. Her young female figures exist in a state of ambivalence, while the surrounding objects and animals - eggs tangled in golden curls, a white horse hooked through an ear lobe, a snarling dog - act as clues to their emotional landscapes. Sally Kindberg's paintings consider love as a double-edged sword, capable of both creating freedom and causing harm. Each work remains deliberately ambiguous, opening onto moments of dissatisfaction, reflection and quiet heartbreak. A ceramic work by Claire Partington serves as a contemporary memento mori, reworking the motif of death and the maiden. Surrounded by everyday signifiers of desire and status, her figure cradles death itself, reversing the historical trope to suggest not surrender, but a shift in power. Her Lover's Eyes, by contrast, reimagine the 18th-century portable romantic memento, though the eyes here are filled with tears, frozen in grief and hurt. Bethany Stead also looks to historic symbolism: her ceramic sculpture references the archetype of the incubus or 'sleep hag', a demon lover associated with sleep paralysis. The work reflects on how obsessive and toxic love can take hold psychologically, emerging as something both intimate and menacing. Paintings by Mu Pan and Ben Edge similarly reflect on cycles of death and rebirth in relation to both the self and wider ecosystems. Pan's intricate composition continues his Blood Series, the artist's reimagining of Paradise Lost, focusing on the nourishment of blood and spiritual transcendence, where animals serve as offerings as well as the 'flesh of the earth'. Edge's paintings, meanwhile, explore tainted love through the self as shaped by past experience: in Shadow Work (Self-Portrait), a string of leaves grows from the artist's mouth, divided between demonic forms embodying shame and hurt and angelic figures striving toward goodness, while I'll Be Your Mirror stages an encounter between these opposing forces within a landscape split between spring and winter, evoking the uneasy cycle of death and renewal. Paintings by Colm Mac Athlaoich focus on moments of proximity and parting: in Pillow Talk, two faces are compressed into a narrow space of potential communication, while Marathon Boy and Lycidas suggests an abrupt ending, where figures appear to part ways, their gestures marking the close of an exchange. A textile work by Cheryl Pope also examines the quiet tensions between tenderness, distance and vulnerability that shape lived experience. The work depicts a bedroom scene of a couple who appear together yet apart - the woman looking at her phone, while the man smokes a cigarette as he gazes out of the window. For over three decades, Brian Chalkley has explored gender, sexuality and identity through his alter ego Dawn, who appears here in stormy landscapes. Through this dialogue, his works speak of melancholy, performance and the desire to inhabit another self, where intimacy is shaped by both projection and longing. Across the exhibition, love is stretched between knowing and unknowing, intimacy and distance, recognition and denial. What emerges is not a singular definition, but a series of unstable states in which love is felt most acutely at the point where it begins to unravel. Ben Edge (b. 1985, Croydon) is an artist based in North London whose work explores the connections between folklore, identity, nature, and oral storytelling traditions. In his figurative art, Ben explores the richness of British folklore and the way it re-enchants the landscape, uncovers hidden stories and shapes, and reflects the extraordinary lives of ordinary people. His paintings and films dive into the deep currents of myth, story, and memory, with his interests originating from his childhood, surrounded by eccentric relatives who shared remarkable tales about their lives and experiences. Ben's work is characterised by its precision and clarity, reflecting his deep respect for craft and detail. He draws influence from Folk Art, Naive Art, and the Northern Renaissance, all of which provide the foundation for his meticulous painting style. Solo exhibitions include Children of Albion, Fitzrovia Chapel, London, UK (2025); British Folk Paintings, The Viktor Wynd Museum of Curiosities, Fine Art & Natural History, London, UK (2023); Ritual Britain, Ben Edge and the Museum of British Folklore, curated by Simon Costin, The Crypt Gallery, St Pancras New Church, London, UK (2021); Ritual Britain, curated by David Harrson, Cubitt Gallery & Studios, London, UK (2019); Life Retraced, Mr Fogg's Residence, London, UK (2018); Folk Renaissance, HIX Art, London, UK (2017). Group Exhibitions include (Upcoming) Tainted Love, Kristin Hjellegjerde Gallery, London, UK (2026); Every Step of the Way, The Arc, Winchester, UK (2025); Common Ground, Wilson Gallery & Museum, Cheltenham Trust, UK (2025); Return of the Black Shuck and Friends, The Bell Gallery, Bungay Suffolk, UK (2024); Animal Guising and the Kentish Hooden Horse, Maidstone Museum, Kent, UK (2023); Art On A Postcard, Fascinating Figuration, curated by Jack Trodd (2023); Cubitt 30, Victoria Miro Gallery, London, UK (2022); Once Upon a Time, 23-25 Chiltern St, London, UK (2022); Double Dog Studios, Pittsburgh, USA (2022); Royal Academy Summer Show, The Royal Academy, London, UK (2022); The Smoke, Terrace Gallery, London, UK (2021); Queer as Folklore, Gallery 46, London, UK (2021); Art On A Postcard Summer Exhibition, Hoxton Gallery, London, UK (2021); Estival, Meta Gallery, Stroud, Gloucestershire, UK (2021); Silent Slips, James Freeman Gallery, London, UK (2020); A Horse's Head in the Frost, Chepstow Museum, Chepstow, Wales (2019-2020); Art On A Postcard, Old Spitalfields Market, London, UK (2019); Cubitt Open Studios, London, UK (2019); Lore of the land, Churchgate Gallery, Somerset, UK (2018); Mayfair Art Weekend, Browns Hotel, London, UK (2017); The Ruth Borchard Self-Portrait Prize, Piano Nobile, Kings Place, London, UK (2015); Contemporary folklore, duo show with Ben Westley Clarke, Leyden Gallery, London, UK (2015); Nuance outcasts, Angus Hughes Gallery, London, UK (2014); Black Xmas, Signal Gallery, London, UK (2012); Punk and Beyond, Signal Gallery, London, UK (2011); BP Portrait Award, National Gallery of Scotland, Edinburgh, UK; Southhampton City Art Gallery, Southampton, UK; National Portrait Gallery, London, UK (2009-2010). Recently, Ben Edge curated Common Ground at The Wilson Art Gallery and Museum in Cheltenham, bringing together contemporary artworks alongside historical artefacts to highlight evolving narratives around land use, defiance, and environmental protection. Edge was shortlisted for highly acclaimed rewards including the Ruth Borchard Self-Portrait Prize in 2015 and the BP Portrait Award in 2009. Alongside his visual art, Ben has art-directed music videos and designed artwork for acts. His musical endeavours continue with the release of two albums, New Tradition (2021) and Children of Albion (2025), both available on Glass Modern Records, showcasing his ongoing exploration of folk traditions through song. Bethany Stead (b. 1995, Wakefield, UK) lives and works in Newcastle-upon-Tyne. Through drawing, painting and sculpture, Stead uses figuration and personal visual language to disrupt our fragile social fabric. Her work is concerned with the experience and sense of discomfort of inhabiting bodies, forming a kind of psychological dissection. She examines themes of health, hierarchy, deviance, duality, consciousness, worship and the posthuman, filtered through the lens of class and sexuality. Solo and duo exhibitions include Girdle, Cub_ism Artspace, Shanghai, China (2025); Sackcloth and Ashes, 36 Gallery (duo), Newcastle upon Tyne (2025); Snatch a Thread, Moving Gallery, Sunderland (2024); Dip Your Wick, 'The PUBlic Window' Republic Gallery, Blyth (2022); Saggy, Ex Libris Gallery (duo), Newcastle upon Tyne (2019). Group exhibitions include (Upcoming) Tainted Love, Kristin Hjellegjerde, London (2026); Au Fil du Temps, SLQS Gallery, London (2026); The Stanley & Audrey Burton Gallery, Leeds University (2026); Old Shadows, Keenley Chapel, Hexam (2025); Home Bodies, Unit 2, St Leonards, East Sussex (2025); Voices Of Pride, Vane, Gateshead (2025); Sustainable Clay, Hatton Gallery, Newcastle upon Tyne (2025); The Omnipotence of Dream, Salford Art Gallery, Greater Manchester (2025); A Pocket Full of Plenty, Curated by Papillon Projects, Hypha Studios, London (2025); ING Discerning Eye, Carol Leonard selection, Mall Galleries, London (2024); Antigone Revisited, Curated by Marcelle Joseph, Hypha Studios HQ, London (2024); Interlaced, Constantine Gallery at Middlesbrough Art Week, Middlesbrough (2024); North East Emerging Artist Award Shortlist, Seaton Delaval Hall, Seaton Sluice (2024); Memories of the Aire and Calder, Left Bank, Leeds (2024); Portals, Gallagher and Turner, Newcastle upon Tyne (2024); Counterweight, Newcastle Arts Centre, Newcastle upon Tyne (2024); Belonging, Pink-Collar Gallery, Sunderland (2024); Pleasure Permission Boundaries, Ex Libris Gallery, Newcastle upon Tyne (2024); Crawl Space, The Crypt Gallery, London (2023); Gatherings, SET Woolwich, London (2023); Hypha, Church of St John, Healey, Riding Mill, Northumberland (2023); Now That's What I Call Art 2, Newcastle Contemporary Art, Newcastle upon Tyne (2023). Stead has been the recipient of several awards, including the Henry Moore Foundation Artist Award Grant (2025); The North East Artists' Fund (2025); The Eaton Fund (2024);The Elephant Fund (2024); The North-East Emerging Artist Award Shortlist - Seaton Delaval Hall (2024); Brass Tacks Artist Bursary - Newcastle Arts Centre (2024); and Baltic Artist Bursary (2022). She has also been selected for residencies internationally, including Girlpower Residency, Aquitaine, South France (2025); Hogchester Arts Residency, West Dorsett, UK (2025); and Artpark Rhodes, Greece (2019). Brian Dawn Chalkley is a visual artist and storyteller. Chalkley has been exploring gender, sexuality, and identity for over four decades. Known for their public performances under their alter ego "Dawn," Brian Dawn Chalkley was a prominent figure in London's underground trans clubbing scene in the '80s and '90s. Through their work, they explore what is means to perform gender and form identity, constructing and deconstructing aspects of their own personality and persona. Solo exhibitions include Angels Suffer Too, Kunstmuseum Luzern, Switzerland (2026); Living on the edge of failure, Lungley Gallery, London (2024); The analytic pictorial Space of poetic horror, Lungley Gallery, London (2022); The Untold Depth of Savagery, Lungley Gallery, London (2020); Missing, Lungley Gallery, London (2018); The Alterity and Identity of Trans Imaginess, Arthelix gallery, New York, US (2017); Brian Dawn, Outpost Gallery, Norwich, UK (2015); Dawn in Wonderland, Horst Schuler Galerie, Dusseldorf, Germany (2013); Painting in High Heels, Hackney Forge, London (2006). Group exhibitions include (upcoming) Tainted Love, Kristin Hjellegjerde, London, UK (2026); Kuu Maa, Margot Samel, New York (2025); Being There, Curated by Ingrid Swenson MBE. No. 1 Royal Crescent, Bath, UK (2025); Tales From The Colony Room: Art And Bohemia, Dellasposa, London, UK (2020); Unsheltered as it is, D Contemporary, London, UK (2020); Taipei residency at Taipei University, supported by UAL, Taipei, Taiwan (2017); The Shape we are in (curated by Paul Carey Kent) London, UK (2015); Deptford X (curated by Janette Parris), London, UK (2015); (Boys Keep Swinging) curated by Frank Lamy, Mac Val Musee d' art, Paris, France (2015); Art Koln, Ancient and Modern, Germany (2013); Drawing Biennial, Drawing Room, London (2013); Works on Paper, Galerie Gregor Staiger, Zurich, Switzerland (2013); Brian Dawn Chalkley, Ancient and Modern, London (2012); Brian Dawn Chalkley, Horst Schuler Galerie, Dusseldorf, Germany (2011); Der Menschen Klee, Kunst im Tunnel Dusseldorf, Germany (2011); Nothing is Forever, South London Gallery, London (2010). Caroline Wong (b. 1986 Ipoh, Malaysia) is a British-Malaysian-Chinese artist based in London. Following her Diploma in Contemporary Portraiture from The Art Academy, London, she completed a Masters in Fine Art, City and Guilds of London Art School in 2021. Wong explores female desire, primarily through colourful, cluttered scenes of women dining, drinking, or dozing, often in the company of cats. Mirroring the gluttonous girls in her works, she likens her process to indulging, satiating, and -- to quote Bonnard -- retrieving 'the savour of things'. Blending party detritus with lushly patterned party dresses, and saturated, saccharine hues with smudged, scribbly pastel, Wong's tableaux are ultimately a gleeful celebration of excess: a marriage of the carnivalesque and the decorative, the chaotic and the ornate, the feral and the feminine. Her work depicts and embodies hunger in its most literal sense, shaped by an obsessive relationship with food, but hints also at other underlying appetites, desires, and manias in life. Solo Exhibitions include Girls who Devour, Saatchi Gallery, London, UK (2026); Feline Theatre, Berliner Ensemble Theater, Berlin, Germany (2024); Hungry Women, Richard Saltoun Gallery, London, UK (2024); Art Dusseldorf, Soy Capitan, Dusseldorf, Germany (2024); Picnics and Parties, Gallery Belenius, Stockholm, Sweden (2024); Eternal Summer, Castello di San Basilio, Pisticci, Italy (2023); A Many-Splendoured Thing, Rusha & Co, Los Angeles, USA (2023); Artificial Paradises, Soho Revue, London, UK (2022); Cats and Girls, Soy Capitan, Berlin, Germany (2022). Group Exhibitions include (Upcoming) Drawing Biennial, Drawing Room, London, UK (2026); (Upcoming) Tainted Love, Kristin Hjellegjerde Gallery, London, UK (2026); (Upcoming) Soho Revue, London, UK (2026); The Power of Small Things, Soy Capitan, Berlin, Germany (2025); Myths, Dreams and New Realities, with Bagri Foundation, Saatchi Gallery, London, UK (2025); It's the End of the World, Let's Dance, Ames Yavuz, Singapore (2025); Belenius, Kiaf Seoul, Seoul, Korea (2024); Flawless Waltz, Soy Capitan, Berlin, Germany (2024); Drawing Biennial 2024, Drawing Room, London, UK (2024); Whitechapel Gallery Art Icon Auction 2024, Whitechapel Gallery, London, UK (2024); ARCO 2024, Soy Capitan, Madrid, Spain (2024); Passage of Time, Soy Capitan, Berlin, Germany (2023); Contested Bodies, Stanley & Audrey Burton Gallery, Leeds, UK (2023); Trinity Buoy Wharf Drawing Prize 2023, Trinity Buoy Wharf, London, UK (2023); Art Dusseldorf, Soy Capitan, Dusseldorf, Germany (2023); You Were Bigger than the Sky, You Were More Than Just a Short Time, Gallery Belenius, Stockholm, Sweden (2023); Fetish, MAMA, London, UK (2023); Face to Face, Gillian Jason Gallery, London, UK (2022); Angels with Dirty Faces, Ojiri Gallery, London, UK (2022); Go Figure!, Daniel Raphael Gallery, London, UK (2022); À la carte, Tchotchke Gallery, New York, USA (2022); Eat Drink Man Woman, 180 Strand, London, UK (2022); Friends and Family, Pi Artworks, London, UK (2022); In the Land of Cockaigne, Quench Gallery, Margate, UK (2022); The Dinner Table, Sanmei Gallery, London, UK (2021); ING Discerning Eye, Mall Galleries, London, UK (2021); MA Show, City and Guilds of London Art School, London, UK (2021); Drawn Out, Drawing Room, London, UK (2021); Drawing Biennial 2021, Drawing Room, London, UK (2021). Caroline Wong has received notable recognition including the Liberty Specialty Markets Art Prize and the Society of Women Artists' Derwent Special Prize for Materials, both in 2018, followed by the Drawing Biennial Bursary Award in 2021. In 2023, she undertook a residency at Castello San Basilio in Pisticci, Italy. Wong is also featured in Drawn Out, an exhibition catalogue published by Drawing Room in 2021, alongside artists Kate Lyddon, Alice Maher, Richard Mark Rawlins, and Joel Wyllie, with contributions from Kate Macfarlane, Jacqui McIntosh, Mary Doyle, and Huma Kabakci. Claire Partington (b. 1973), lives and works in London is best known for her large-scale ceramic figures and installations. After studying sculpture at Central Saint Martins in the 1990's she moved away from making art to pursue a career in the museums and galleries that had initially inspired her interest in art and design, notably working at the V&A; museum, the British Library, and the Wellcome Collection. Following a change of career a decade later, she returned to making and attended ceramics classes at night school, where she began to make illustrative and narrative figurative works that draw on her interests in art and social history, mixed with a contemporary social commentary and sense of the surreal. Solo Exhibitions include Princess, Mindy Solomon, Miami, US; The Limerents, Winston Wachter, Seattle, US (2024); When the rocks were soft, Arusha Gallery, Edinburgh, UK (2023); Winter Coat, Arusha Gallery, Bruton, UK; Claire Partington at the Walker Art Gallery, Liverpool, UK; En Plein Air, Winston Wachter, Seattle, US (2022); Britainton, James Freeman Gallery, London, UK (2021); Gods and Monsters, Untitled, Art. San Francisco, US (2020); The Hunting Party, Winston Wachter, Seattle, US (2019); Taking Tea, Seattle Art Museum, Seattle, UK (2018); A Cautionary Tale, James Freeman Gallery, London, UK (2017). Group Exhibitions include (Upcoming) Tainted Love, Kristin Hjellegjerde Gallery, London, UK (2026); Symposium, Kristin Hjellegjerde Gallery, West Palm Beach, FL, USA (2025); Pedigree, OHSH Projects, London, UK; Monsters of the Deep, Aberdeen Art Gallery, UK; Common Ground, The Wilson, Cheltenham, UK (2025); Historical Fiction, KochXBos, Amsterdam, NL, Bookworks, James Freeman Gallery, London, UK (2022); London Making Now, Museum of London, UK, Fairyland, Mindy Solomon Gallery, Miami, US (2021); Cranach: Artist and innovator, Compton Verney, UK (2020); Claire Partington & Charles Freger, James Freeman Gallery, London, UK (2019); Material : Earth. Myth Material Metamorphosis, Messums, UK (2018); doing identity. Die Sammlung Reydan Weiss, Kunstmuseum Bochum, Germany (2017); I Prefer Life, Weserburg Museum of Modern Art, Germany; Divine Decadence, Kasteel van Gaasbeek, Belguim (2016); Hey Act III, Halle Saint Pierre, Paris, France; My Blue China, Musee Ariana, Geneva, Switzerland; Sweet 18, Kasteel d'Ursel, Belgium (2015); Im Dialog mit dem Barok, Neues Schloss Schleißheim, Germany (2013). Claire Partington has received wide recognition for her work, including the Contemporary Art Society Commission, Walker Art Gallery (2022); Porcelain Room Commission, Seattle Art Museum (2018); and Winner of the Virginia A Groot Foundation Grant (2018). Collections that feature Partington's work include Victoria and Albert Museum (UK), Seattle Art Museum (US), Ömer Koç Collection (TR), Walker Art Gallery (UK), Museum of London (UK), National Museums Scotland (UK), Aberdeen Art Gallery (UK), Reydan Weiss Collection (DE), Mack Collection (US), 21C Museum (US). Cheryl Pope (b. 1980, Chicago, IL) is an interdisciplinary visual artist who questions and responds to issues of identity as it relates to the individual and the community, specifically in regards to race, gender, class, history, power and place. Her practice largely emerges from the act and politics of listening while her recent material draws upon personal memories. Referencing the iconic works of French Post-Impressionist, Intimist, and Imagist painters, Pope's work poetically captures the deeply personal and cinematic complexities of love, loss, and the human experience. Solo exhibitions include All There Is, Monique Meloche Gallery, Chicago, IL (2026); Cheryl Pope: No Place Better Than The Body, in collaboration with moniquemeloche, Easy Does It Curatorial Space, Los Angeles, CA (2024); Variations on a Love Theme, moniquemeloche, Chicago, IL; Ulrich Museum of Art, Wichita, KS (2022); Basking Never Hurt No One, Moniquemeloche, Chicago, IL (2019); Cheryl Pope: Not Without a Fight, Rockford Art Museum, Rockford, IL (2019); Speakless, Galleria Bianconi, Milan, Italy (2018); Truth Be Told., Andres Guerrero Gallery, San Francisco, CA (2018); I've Been Heard, Fort Gansevoort, New York, NY (2017); Watch Your Step, moniquemeloche, Chicago, IL (2016); (Un)Told, Central Utah Art Center, Salt Lake City, UT (2016): Community Is Built On Empathy, Kenyon College, Gambier, OH (2016); Objects for Listening, Ontario College of Art, Toronto, Canada (2016); Side by Side, Williams College Museum of Art, Williamstown, MA (2016); Art of Americas, Denver Biennial, Boulder Museum of Contemporary Art, Boulder, CO (2015); From Within, Poetry Foundation, Chicago, IL (2015 ); Unfolding the Folds, Harold Washington College, Chicago, IL (2015); Museo Arte Gallarate, Gallarate, IT (2014); Speculum Speculorum, Mark Moore Gallery, Culver City, CA (2014); Just Yell, moniquemeloche, Chicago, IL (2013); (In)Voluntary Acts, Julian Navarro Projects, Mandragoras Art Space, New York, NY (2012); Matter of Fact, Emerson Dorsch, Miami, FL (2011); A Silent I, On the Wall, moniquemeloche, Chicago, IL (2011). Group exhibitions include (Upcoming) Tainted Love, Kristin Hjellegjerde Gallery, London, UK (2026); F*ck Art, Museum of Sex, Miami, FL (2026); Get in the Game: Sports, Art, Culture, Crystal Bridges, Museum of American Art, Bentonville, AR (2025); Strike Fast, Dance Lightly: Artists on Boxing, Norton Museum of Art, West Palm Beach, FL (2024); Get in the Game: Sports, Art, Culture, SF MoMA, San Francisco, CA (2024); Resistance Training: Arts, Sports, and Civil Rights, Eli and Edythe Broad Art Museum, East Lansing, MI (2023); Hoop Dreams: Basketball and Contemporary Art, Everson Museum of Art, Syracuse, NY (2023); Unmasking Masculinity for the 21st Century, Kalamazoo Institute of the Arts, Kalamazoo, MI (2022); She Says: Women, Words, and Power, Virginia Museum of Contemporary Art, Virginia Beach, VA (2021); The Long Dream, Museum of Contemporary Art, Chicago, IL (2021); Stance and Fall: A Wavering World, MARTa Herford Museum, Herford, DE (2019); Ace: Art on Sports, Promise, and Selfhood, University Art Museum, Albany, NY (2019); River Assembly, Floating Museum, Chicago, IL (2017); I Am The Many, The White House, Washington, DC (2015); Chicago Statements, Biennale, Elmhurst Art Museum, Elmhurst, IL (2015); Shift Shape, Defibrillator, Chicago, IL (2011); Through the Looking Glass, Evanston Art Center, Evanston, Chicago, IL (2011); War as Art/Art as War, The Morgan Conservatory, Cleveland, OH (2009); Artist as Teacher/Teacher as Artist, Museum of Contemporary Art, Chicago, IL (2008). Pope's work is in the collections of the Museum of Contemporary Art Jacksonville, FL; the Museum of Contemporary Art, Chicago, IL; UBS Art Collection, New York, NY; Seattle Art Museum, WA; Honolulu Museum of Art, HI; Museum of Contemporary Art, San Diego, CA; Poetry Foundation, Chicago, IL; DePaul University Art Museum, Chicago, IL; Baltimore Museum of Art, Baltimore, MD; United States Embassy, Santo Domingo, Dominican Republic; The Jackson West Memorial Hospital, Miami, FL; and The Ulrich Museum of Art, Wichita, KS. She has been the recipient of several awards and fellowships, including the Public Artist Award, Franklin Works, Minneapolis, MN (2017); Selected Artist, Year of Public Art, Chicago Cultural Center, IL (2017); Mellon Fellowship, Kenyon College, Gambier, OH (2016); and 3Arts Award, Chicago, IL (2015). Colm Mac Athlaoich (b. 1980, Dublin, Ireland) studied at The National College of Art and Design in Dublin, Ireland and at the LUCA school of art in Brussels, Belgium where he is now based. He has studied and worked with master printmakers of both The Graphic and The Black Church Print Studios. He was co-founder and co-director of Monster Truck Gallery and studios, Dublin. His earlier career as printmaker, illustrator and musician informs his painting practice. He exhibits extensively and has works in numerous collections. His paintings attempt to arrive at a point of abstraction by ways of exploring their materiality, process and perception. His works sit between figuration and abstraction, exploring the space between. Utilising source material from press, online social platforms as well as from self-documentation form a starting point to constantly explore varying themes through a both a political and poetic lens. Solo exhibitions include Tears, Chappelle Grand Hospice, Brussels, Belgium (2023); Autrefois, Grove Collective, London, UK (2022); Percept / Ethos, Galleria Weber, Turin, Italy (2021); Percept / Logos, Hangtough Gallery, Dublin, Ireland (2021); Percept / Pathos, Grove Collective, London, UK (2021); Percept, Luan Gallery, Athlone, West Meath, Ireland (2021); Body language and Truth, Atelier Coliseum, Brussels, Belgium (2020); The Waiting Game, Galleria Weber, Turin, Italy (2020); Elsewhere, To Be Found, Cowshed Gallery, Dublin, Ireland (2018); Una Terrible Belleza, Rizoma Galeria, Madrid, Spain (2017); Travelling without moving, Pallas Projects, Dublin, Ireland (2017); New Works, Made Dublin, Ireland (2016); Botox, Unit H, Market Studios, Dublin, Ireland (2013); Temple Bar Revisited (painting and performance), Monster Truck Gallery, Dublin, Ireland (2011); Politicians, Musicians, Movers and Shakers, Gallery No.1, Dublin, Ireland (2017); Release the Hounds and Send in the Clowns, Monster Truck Gallery, Dublin, Ireland (2007). Group exhibitions include (Upcoming) Tainted Love, Kristin Hjellegjerde Gallery, London, UK (2026); The Art of Sport, Butler Gallery, Ireland (2023); Sweat, Grove Berlin, GER 2022 - Art2Cure, BIL, Luxembourg (2023); Paikeir, Hangtough, Dublin, Ireland (2022); Re-Settled, Piano Fabriek, Brussels, Belgium (2020); Out of Print, The Library Project, Dublin, Ireland (2016); Conversations (OPW) The Casino in Marino, Ireland (2016); Conversations (OPW) Farmleigh House, Ireland (2016); From Cover to Canvas, Kings Inns, Dublin, Ireland (2015); A Natural Selection / Blue House Gallery, Cork, Ireland (2015); A Natural Selection / Hamilton Gallery, Cork, Ireland (2014); A Natural Selection / Royal Dublin Society, Dublin, Ireland (2014); A Natural Selection / Galleri Astley, Uttersberg, Sweden (2014); A Natural Selection / The Lavit Gallery, Cork, Ireland (2014); A Natural Selection / Greenacres Gallery, Wexford, Ireland (2014); A Natural Selection / National Botanic Gardens, Dublin, Ireland (2014); 40/40/40, OPW/ DFP, Palazzo Della Farnesina, Rome, Italy (2013); 40/40/40, OPW/ DFP, Biblioteka Uniwersytecka, Warszawa, Poland (2013); 40/40/40, OPW/ DFP, Centro Cultural Conde Duque, Madrid, Spain (2013); KTDOTL / Group show, Eight Gallery, Dublin, Ireland (2013); Production, Monster Truck Gallery, Dublin, Ireland (2013); Pallas Periodical Review / Pallas Projects PP/S / group show (2011); Flow, Office of Public Works / DFP, Ireland (2010); Boxid Round II, Black Church Gallery, Dublin, Ireland (2009); Big Foot, Monster Truck Gallery / RHA, Dublin, Ireland (2008); Big Store, Temple Bar Gallery & Studios, Dublin, Ireland (2007); Circumstances, 7 Henrietta street, Dublin, Ireland (2005); Dead Art, The White Room Art Gallery, Galway, Ireland (2005); Emerging artists, Graphic Studio Gallery, Dublin, Ireland (2005); London print Fair, The Royal Academy of Arts, London, UK (2005); Christmas Show, Graphic Studio Gallery, Dublin, Ireland (2004); Advent, Original Print Gallery, Dublin, Ireland (2004); NCAD Degree Show, NCAD, Dublin, Ireland (2004); Hermione, Alexandra College, Dublin, Ireland (2004); RHA 174th Exhibition, Gallagher Gallery, Dublin, Ireland (2004); Erasmus showcase, Academie Menerva, Groningen, Netherlands (2004); Iontas small works exhibition, Sligo, Ireland (2003); RDS Art Student Award RDS, Industries Hall, Dublin, Ireland (2003); Print Show, Cross Gallery, Dublin, Ireland (2003). Darcy Whent (b. 2002, Wales) is a painter based in Bristol, UK. She completed a BA in Fine Art at Bath School of Art and is currently based at Pennywell Studios, Bristol. Whent's practice explores memory, motherhood, and identity through figurative and narrative painting, using autofiction to rework personal and collective histories. Through recurring motifs of domestic space, animals, and the female figure, Whent constructs psychologically charged worlds that sit between childhood and adulthood, truth and invention. Solo exhibitions include (Upcoming) Salon, Kristin Hjellegjerde Gallery, West Palm Beach, USA (2026); Tell Tales, Centre Space, UK (2025); Becoming Feral, Mother Rugger, Brentford, UK (2025). Group exhibitions include (Upcoming) Tainted Love, Kristin Hjellegjerde Gallery, London, UK (2026); Unbridled: Horsin' Around, Latitude Gallery, New York, USA (2026); Pet Shop, Harsh Collective, Brooklyn, NY, USA (2025); Delphian Gallery Group Exhibition, Delphian Gallery, London, UK (2025); Ingram Prize Exhibition, UK (2025); The House We Built, The Mount Without, Bristol, UK (2025); Spike Island Associates Open, Spike Island, Bristol, UK (2024); Emerge Showcase, Bath School of Art, Bath, UK (2023). In 2025, Darcy Whent was the winner of the Delphian Gallery Open Call and a finalist for the Ingram Prize. In the same year, she was shortlisted for the Homiens Prize and the ACS Studio Prize. When was longlisted for the Freelands Painting Prize in 2023 and has participated in residencies including Steria Artist House (Roseto Valfortore, Italy) and Emerge Residency (Bath, UK). Eileen Cooper RA (b. 1953, Derbyshire) lives and works in London, UK. Having studied at Goldsmith's College, Cooper completed her Master of Arts in Painting at Royal College of Art in 1977. Throughout her career Cooper's work has contained a strong autobiographical element, while also being allegorical and poetic. A strong colourist and described as a magic realist, Cooper brings an unapologetically female perspective to her subject matter, encompassing sexuality, motherhood, life and death. Her images, simultaneously bold and tender, reveal a range of feeling that is both deeply engrossing and readily accessible, yet very much part of contemporary art practice. Renowned for her work as a painter and printmaker, Cooper also embraces drawing, collage, ceramics, and sculpture in her expansive practice. Solo exhibitions include (Upcoming) Kristin Hjellegjerde Gallery, London, UK (2026); Whispers on the Breeze, 75 in Residence, Liberty, London, UK (2026); Evergreen, Academician's Room, Royal Academy, London, UK (2025-2026); Eyes Open Wide, Kristin Hjellegjerde Gallery, Wandsworth, London, UK (2024); Ambivalence and Desire, Huxley Parlour Gallery, London, UK (2023); Radium Dreams, The Women's Art Collection, Murray Edwards College, Cambridge (2023); Parallel Lines, Leicester Museum & Art Gallery, Leicester, UK (2022); Nights at the Circus, Sims Reed Gallery, London, UK (2021); Personal Space: New Paintings, Huxley Parlour Gallery, London, UK (2019); Hide and Seek: Drawing 1977-2014, touring to Swindon Museum and Art Gallery, The Mercer Art Gallery, Harrogate, UK (2016-17); Hide and Seek: Drawing 1977-2014, Royal Academy of Arts, Tennant Gallery and Fine Rooms Garden, Wiltshire, UK (2015); Collages, Royal Academy, London, UK (2010); Raw Material: Eileen Cooper at Dulwich Picture Gallery, London, UK (2000); Second Skin: Eileen Cooper in the 80s and 90s, touring to Wolverhampton, Nottingham and Eastbourne, UK (1999); Touring Exhibition - Graphic Work, Darlington, Harrogate & Scarborough, UK (1996-97); Eileen Cooper at Sadlers Wells Theatre, London, UK (1994). Group exhibitions include (Upcoming) Tainted Love, Kristin Hjellegjerde Gallery, London, UK (2026); Skin Deep: Stories through the female body, Royal West of England Academy, Bristol, UK (2025); Light is Therefore Colour, duo exhibition with Sinta Tantra, Turner's House Museum, Twickenham, UK (2025); Seeing Each Other, Pallant House Gallery, Chichester, UK (2025); A Living Collection, Hepworth Wakefield, Wakefield, UK (2025); Acts of Creation: On Art and Motherhood, Hayward Gallery Touring Exhibition, Arnolfini Bristol; traveling to MAC Birmingham; Millennium Gallery Sheffield; Dundee Contemporary Arts (2024-2025); Women in Revolt! Art and Activism in the UK 1970 -1990, Tate Britain, touring to National Galleries of Scotland: Modern, Edinburgh, The Whitworth, University of Manchester (2023-2025); Contested Bodies, Leeds University Galleries, Leeds (2023); Women and Water, Women's Art Collection, Murray Edwards College, Cambridge (2023); Towner 100: The Living Collection, Towner Eastbourne (2023); A Living Collection, Hepworth Wakefield (2023); Group Show, Aspex Portsmouth (2023); Act 1: Body en Thrall with the Rugby Collection, Rugby Art Gallery and Museum (2022); Hockney to Himid: 60 Years of British Printmaking, Pallant House Gallery, Chichester (2021); RA Portfolio Diamond Jubilee Gift, Queen's Gallery, Buckingham Palace, London, UK (2013-14); Hugh Stoneman - Master Printer, Tate St. Ives, Cornwall, UK (2008); Visual Wit, Royal Academy of Arts, London, UK (2004); The Contemporary Print Show Part I, The Barbican Centre, London, UK (1998); Contemporary Art at the Courtauld, Courtauld Institute, London, UK (1993); Innocence and Experience, touring exhibition organised by the South Bank Centre & Manchester City Art Gallery: Manchester, Hull, Nottingham, & Glasgow, UK (1992); Look Here Upon This Picture and On This, South Bank Centre, touring exhibition (1991-92); Postmodern Prints, Victoria & Albert Museum, London (1991); Picturing People, British Council tour to Kuala Lumpur, Hong Kong & Singapore (1989); Women's Images of Men, ICA, London, UK (1980). Elected a Royal Academician in 2001, Cooper served as Keeper of the Royal Academy of Arts from 2010-17, becoming the first woman elected to the role since the founding of the RA in 1768. In 2017 and 2009 she was coordinator of the Royal Academy Summer Exhibition. Her work is in the permanent collections of the Tate (UK), The Arts Council Collection (UK), The British Museum (UK), Dallas Museum of Art (Texas), The Government Art Collection (UK), The Hepworth Wakefield (UK) and others. Mu Pan (b. 1976, Taiwan) studied at the School of Visual Arts in New York, earning a BFA in Illustration and an MFA with honours in 2007 after emigrating to the city in 1997. Working primarily in acrylic on wood and paper, his highly detailed paintings assert a multiplicity of cultural identities through expansive, narrative compositions often staged as dynamic battle scenes. Blending references from East Asian art histories and American pop culture, his work constructs hybrid mythologies populated by animal deities and cartoon-like figures, using these layered narratives as a vehicle for sharp social commentary on migration, urban change, and contemporary society. Solo Exhibitions include For the Life of the Creature, Galerie LJ, Paris, France (2025); Enter the Dragon, Galerie LJ, Paris, France (2024); Another Journey to the West, Galerie LJ, Paris, France (2023); To Have A Mother Means Milk, Hashimoto Contemporary, New York, USA (2022); Don't Concentrate On The Finger, Galerie LJ, Paris, France (2021); Mu Pan And Other Beasts, Exhibition Retrospective, Coleccion Slo, Madrid, Spain (2019); The Sword of MUtual Demise, Galerie LJ, Paris, France (2019); Bright Moon Shines On The River, Joshua Liner Gallery, New York, USA (2018); Art Central Hong Kong, with Galerie LJ, Hong Kong (2018); Treat Your Mother Right, Galerie LJ, Paris, France (2017): Your Mother Should Know, Poulsen Gallery, Copenhagen, Denmark (2016); Fake Cover, Galerie LJ, Paris, France (2015); One Inch Punch, Copro Nason Gallery, Santa Monica, USA (2014); The Way of The Dog, 3rd Ward, Brooklyn, USA (2012); Art Taipei, Exposition personnelle dans le cadre du prix Artist Wanted/3rd Ward Open Call, Taipei (2011): The Other Mountain and The Other Sea, KunstRaum H&H, Cologne, Germany (2011). Selected Group Exhibitions include (Upcoming) Tainted Love, Kristin Hjellegjerde Gallery, London, UK (2026); Iconostasis, Museum of Contemporary Art, Bangkok (2026); Beasts of Legend: Animals in East Asian Art, Worcester Art Museum, Worcester, MA, USA (2026); Carnival, Deitch Projects, New York, USA (2025); Rakugaki 7, Giant Robot, Los Angeles, USA (2025); Hybrides: Composed Creatures From Sagas, Myths and Legends, De Warande, Turnhout, Belgique (2024); Where the Wild Roses Grow, Kristin Hjellegjerde Gallery, Schloss Gorne, Berlin, Germany (2023); Zona Maco, Mexico DF, Represented by Hashimoto Contemporary, Mexico (2023); Asia Now, Paris, with Galerie LJ. Paris, France (2022); The New Ark, curated by Art Can Die and Director Jacq, River City, Bangkok (2022); The Garden of Earthly Delights: A Contemporary Perspective on Bosch's (2021); Masterpeice, Matadero, Centro de Creacion Contemporanea, Madrid, Spain (2021); Poulson Gallery, Copenhagen, Denmark (2020); Art Madrid, with Galerie LJ, Madrid, Spain (2020); Art Herning, with Poulsen Gallery, Denmark (2020); Summer show, Poulsen Gallery, Copenhagen, Denmark (2019): Pulse Miami, with Poulsen Gallery, Miami, USA (2019); Art On Paper, with Poulsen Gallery, New York, USA (2019); Art Central, with Galerie LJ, Hong Kong (2019); Solid State, curated by Louie Cordero & Jordin Isip, Blanc Gallery, St. Ignatius, Philippines (2019): La Belle Peinture, Spacejunk, Grenoble, France (2017); La Belle Peinture, Spacejunk, Lyon, France (2017);La Belle Peinture, Spacejunk, Byonne, France (2017); Art Central, with Galerie LJ, Hongkong (2017); Pulse Art Fair, with Poulsen Gallery, Miami, USA (2016); YIA Art Fair, with Galerie LJ, Paris, France (2016); Japanese American National Museum, Giant Robot Biennale IV, curator Eric Nakamura, Los Angeles, USA (2015); Samurai, Worcester Art Museum, Exposition collective, curator: Eric Nakamura (2015); Samurai curator Eric Nakamura, Group Exhibition, Worcester Art Museum, Boston, USA (2015); Group Show, Galerie LJ, Paris, France (2014); Hey ! Part !!, Musee de l'Art Brut, Paris, France (2013); Futur-ology, Copro Nason Gallery, Santa Monica, USA (2013); SommerLoch 2012 Silly Season 2012, KunstRaum H&H, Cologne, Germany (2012); Permanent Collection, Nancy Margolis Gallery, New York, USA (2012); The Ace is Wild, Copro Nason Gallery, Santa Monica, USA (2012); Dark Water, Copro Nason Gallery, Santa Monica, USA (2011); Sommerloch 2011, KunstRaum H&H, Cologne, Germany (2011); La Luz de Jesus 25th Anniversary Group Show, Los Angeles, USA (2011);Verge: Art Brooklyn, New York, USA (2011); Silly Season 2011, KunstRaum H&H, Cologne, Germany (2011); UNICEF's Tap Project, GR2, Los Angeles, USA (2011): Silly Season 2010, KunstRaum H&H, Cologne, Germany (2010). Mu Pan has been commissioned an image for the opening scene of the movie Midsommar by Ari Aster in 2019. Pan has also been commissioned for a main poster for the film "Catch Me Daddy" by Daniel and Matthew Wolfe. Mu Panhas been awarded with multiple prizes amongst them the Artist Wanted 3rd Ward Summer Open Call Grand Prize 2007 Catherine Rhodes Scholarship in 2011 and the MFA Illustration Departmen4t Merit Scholarship in 2006 and the Alumni Scholarship Award in 2001. Roxana Halls is a London-based figurative painter best known for her images of laughing wayward women. Her work considers how self- surveillance circumscribes the repertoire of legitimate actions available to women and subverts these internalised rules of conduct. Frequently employing a wry humour and potent glamour to foreground her unsettling narratives, Halls' paintings act as an antidote to passive spectatorship with their febrile interplay of class, queerness, erotics, performance, agency and refusal. Solo Exhibitions include Die Augen der Roxana Halls, Haus Kunst Mitte, Berlin, Germany (2023); Roxana Halls at the BBC, Colley Ison Gallery, Birmingham, UK (2023); Eyes of Roxana Halls, Gallery 46, Whitechapel, London (2022); Crime Spree, Colley Ison Gallery, Birmingham, UK (2021); A Private View, Stephen Lacey Gallery, London, UK (2018); Weimar & Other Earthly Desires, The Stash Gallery at Vout-O-Reenee's, London, UK (2017); Unknown Women, Hayhill Gallery, Baker St, London, UK (2015); Appetite, Hayhill Gallery, Baker St, London, UK (2014); Domestic Disturbance, Beaux Arts Bath, Bath, UK (2012); Shadow Play, HayHill Gallery, Cork St, London, UK (2011); Tingle-Tangle and Other Tales, Lauderdale House, Highgate, London, UK (2011); Roxana Halls ' Tingle Tangle, National Theatre, South Bank, London, UK (2009); Third Solo Exhibition, Beaux Arts Bath, Bath, UK (2004); Second Solo Exhibition, Beaux Arts Bath, Bath, UK (2002); First Solo Exhibition, Beaux Arts Bath, Bath, UK (2000). Group Exhibitions include (Upcoming) Tainted Love, Kristin Hjellegjerde Gallery, London, UK (2026); (Upcoming) Popcorn and Pickles, Kornfeld Gallery at 69 Salon, Berlin, Germany (2026); (Upcoming) Taking Pride in Art, Capital Group, London, UK (2026); Faces of Mind, Haus Kunst Mitte, Berlin, Germany (2026); Under Our Skin, Brixton Tate Library, London, UK (2026); AOAP for International Women's Day, The Bomb Factory, London, UK (2026); The Herbert Smith Freehills Kramer / National Portrait Gallery Award Exhibition, Laing Art Gallery, Newcastle, UK (2025-2026); British Contemporary, Colley Ison Gallery, Birmingham, UK (2025); Reframing the Muse, St John's College, Oxford, UK (2024); Face to Face: A Celebration of Portraiture, Marlborough Gallery, London (2023); Lost Girls, Flowers Gallery, Cork St, London (2023); Ruth Borchard Self Portrait Competition, Piano Nobile, London (2023); Bodies in Trouble, Haus Kunst Mitte, Berlin (2022); Extraordinary Portraits, Turner Contemporary, Margate (2022); Everytime We Say Goodbye, The Project Gallery, Athens, Greece (2022); Nightclubbing, InFems Art Collective, M&C Saatchi, London (2022); Five Needle Five Wire, InFems Art Collective, Thameside Studios, London (2022); Pride Art Exhibition, Clifford Chance, London (2022); Pride Art: A Celebration of Queer Creativity, MUFG, London (2022); The Discerning Eye, Mall Galleries, London (by invitation of Adelaide Damoah) (2021);No Reserve, InFems Art Collective, Co-Curator, Leicester Contemporary, Leicester (2021); KAPOW! The Potteries Museum and Art Gallery, Stoke-on-Trent, Staffordshire, England (2020); Dear Christine (a tribute to Christine Keeler), Arthouse 1, London (2020); " Not Only can Women Paint but…", Ruth Borchard Collection, London (2020); Ruth Borchard Self Portrait Competition, Kings Place Gallery, London (2019); 167th Annual Open Exhibition, Royal West Academy, Bristol (2019); Society of Women Artists, Mall Galleries, London (2019); RA Summer Exhibition, Royal Academy, London (2018); Featured in: Artfully Dressed: Women in the Artworld, portraits by Carla van de Puttelaar, The Weiss Gallery, London (2018); Winter Pride Art Awards, Islington Arts Factory, Runner-Up (2018); Semblance, The Dukes Gallery, Dorchester (2016); The Discerning Eye Collection Exhibition, Temple Church, London (2015); Winter Pride Awards, Chart Gallery, Chelsea, London (2014), among more. Roxana Halls has been recognised through several awards, including The Derwent Special Award from the Society of Women Artists in 2017, the Founder's Purchase Prize at the Discerning Eye Exhibition in 2010, and a win at Pride in the House. Earlier honours include The Villiers David Prize (2004) and the Elizabeth Greenshields Foundation Award (2001). Halls work is held in a number of significant public and private collections, including the Collection of Brian Sewell, St Catherine's College, Oxford, the Jerwood Foundation, the Science Museum, the Collection of West Hertfordshire NHS Trust, the National Galleries of Scotland, the House of Carolina Herrera, and the Disney Archive. Sally Kindberg (b. 1970) is from Sweden and studied at Goldsmiths, University of London where she now lives and works. Interested in both high and low brow culture, Kindberg plays on the notion of the tragicomic in a society that is both civilised and ridiculous and she uses this humorous approach acting as a portal that enables us to explore other, more unsavoury emotions. Digging where she stands, it is often Kindberg's nearby surroundings that take centre stage. A fragment of a frame of life in the city is brought into the limelight and Kindberg uses detailed observations without exposing the individual or the original inspiration for the work. Kindberg's paintings are predominantly figurative but where the figurative, which is primarily the starting point, becomes peculiarly abstracted. Then, intuitively embracing the unfolding picture, surfaces and shapes pop out, plough through or disappear into the background with the use of vibrant colours. Often highlighted areas stand out to create harmony or tension in the paintings. In resolving the picture planes, Kindberg is looking for a composition which is often a two-sided double take. Solo exhibitions include (Upcoming) Salon, Kristin Hellegjerde Gallery, West Palm Beach, Florida, USA (2026); Lounge, Everyday Mooonday, Seoul (2024); SAGA, Wentrup Gallery, Berlin (2023); Calendar at Public Service Gallery, Stockholm (2023); Lay of the Land, Thierry Goldberg, New York (2022); Dream Palace, Everyday Mooonday, Seoul (2022); Rush, Duve, Berlin (2021); Freeport, Peter von Kant, St. Leonards (2021); Queen Aubergine, Four You Gallery, Dubai (2021); Soft Bite, 12 Star Gallery, London (2018); Mugshots, Sally Kindberg + Philadelphia PD, Peter von Kant, London (2014); Hilarious and Hideous at The Hospital Club, London (2008). Group Exhibitions include (Upcoming) Tainted Love, Kristin Hjellegjerde Gallery, London, UK (2026); Blusher, Art, Makeup, Materiality, Leicester Gallery at De Montfort University, Leicester, UK (2025); Art on a Postcard, Summer auction, Berntson Bhattacharjee, London (2025); Clear History, Perrotin, Paris (2025); Paper View II, The Hole, Bowery New York (2024); Tone Poem, The Hole, Los Angeles (2024); Aesthetic Echoes, PLUS-ONE Projects, Antwerp (2024); Smorgasbord, Berntson Bhattacharjee Gallery, London (2024); Sublime Minutiae, Exhibition A, New York (2023); Fembot, group show, The Hole, New York (2023); Friends and Family, Thierry Goldberg, New York (2023); Beach, Nino Mier Gallery, New York (2023); Solidarity, group show, NEXX Asia, Taipei (2023); Woman Wears Daily, group show curated by Stems Gallery, Volery Gallery, Dubai (2023). Tamsin Morse (b. UK) graduated from The Slade, London with a BA and an MA from Chelsea College of Art and Design. In her paintings, Morse creates rich narratives that explore contemporary life through mankind's most elemental instincts - conflict, judgement, morality and the enduring struggle for change. By reworking myths, religious imagery and art-historical symbols, she highlights the timeless tension between our desire to better the world and the limitations of our own nature. Her vibrant colours balance beauty with toxicity, offering not despair but a persistent sense of hope. Solo & Duo exhibitions include A Theatre for Dreamers (Duo with Rita Maikova), Kristin Hjellegjerde Gallery, London, UK (2026); Outliers, Q & C (Quip and Curiosity) Gallery, Cambridge, UK (2024); Tamsin Morse, Coleman Projects, London, UK (2011); Tamsin Morse, One in the Other, London, UK (2006) Group exhibitions include (Upcoming) Tainted Love, Kristin Hjellegjerde Gallery, London, UK (2026); The Way We Live Now, Sun Gallery, Seoul, South Korea (2025); Gate of Horns, Carl Freedman Gallery, Margate, UK (2025); A Popular Bestiary, Tondo Cosmic, London, UK (2025); This Years Model III, Studio 1.1, London, UK (2025); Staged, Studio 1.1, London, UK (2024); Somatechnics, The Tagli, London, UK (2024); This Years Model II, Studio 1.1, London, UK (2023); This Years Model II, Studio 1.1, London, UK (2022); A Generous Space2, New Art Gallery Walsall, Walsall, UK (2022); Fair Art Fair Curated II - Womxn, Unit 1 Gallery Workshop, London, UK (2022); This Years Model III, Studio 1.1, London, UK (2021); Trinity Buoy Wharf Drawing Prize, London, UK (2011); Between a Rock and a Hard Place, Kenny Schachter / ROVE, London, UK (2006). Tamsin Morse is the co-creator of Tondo Cosmic Projects, an arts group that inhabits unusual spaces to foster under-represented artists and has also runs a number of arts-council supported studio complexes to provide affordable workspace for artists including Trafalgar Works, Brighton and Hove, and currently Milton Studios, Cambridge. She has curated or co-curated several projects including 'Gatsby', and 'The Tales of Hoffman' in disused buildings in Hackney. Tamsin Morse has exhibited internationally and some of her major exhibitions include The Way We Live Now, Sun Gallery, Seoul, South Korea (2025); Gate of Horns, Carl Freedman Gallery, Margate, UK (2025) and Outliers, Q & C (Quip and Curiosity) Gallery, Cambridge, UK (2024). Morse's work is held in private and public collections, including The Government Art Collection (UK); The New Art Gallery Walsall (UK); The Zabludowicz Collection (UK); Timothy Taylor (UK); The Open University (UK) and The University of the Arts (UK).