Highlights

Tapestry, Ìnù mí dùn, 2025 by Tomilola Olumide

Installation (Agbalumo skin, kan kan sponge, terracotta clay, batik on cotton)

254 cm x 99 cm

Inumiduns tapestry is a mixed media installation and physical archive embodying my curiosities of the agbalumo fruit between 2021 & 2025. Presented as a vertical batik textile tapestry with hand printed repeated agbalumo seed patterns, holding bodies of achieved natural dehydrated agbalumo fruit skin, and hand-moulded agbalumo skin sculptures created with terracotta air-dried clay. This assemblage and interaction between both forms of agbalumo skin satisfied my indulgence in the fruit, finding safety in its pleasure and play.

The agbalumos repeated seed pattern prints on the tapestry discuss the ethics of food waste, preservation and ecological responsibilities in our world; bringing attention to the ‘nurture’ factor of seeds being prominent sources of nutrition for future generations. And kan kan sponge fibres (a mix of coconut husk, gourd fibres, palm tree roots, raffia fibres) embellish the edges of the tapestry, celebrating the memory of my maternal Grandmother's legacy in my childhood. The physical and visual interaction with kan kan sponge fibres evokes nostalgia. I remember Grandmama, our moments together, her stories. True home.

Assembling this work made me wonder about thoughts on ‘ancestral futures and materials’ especially in ethnobotanical contexts relevant to the contemporary age. Harnessing memories and stories from tactile engagements and activation of indigenous natural materials.

Let’s see where this goes…

Learn more: https://www.tomilolaolumideart.com/ìnùmídùn-2025

254 x 99 cm

False Mycelium, 2025 by Claire Barber

False Mycelium explores the increasingly ambiguous relationship between natural and synthetic forms. Constructed from discarded shoelaces, dressmakers' pins, heather and stone, the work draws upon the visual language of fungal networks and root systems while remaining entirely artificial in its construction.

Radiating across the surface of a weathered stone, the melted shoelaces mimic the growth patterns of mycelium, the underground networks through which fungi communicate, exchange nutrients and sustain ecological relationships. Yet this apparent life is deceptive. The structure is formed from petrochemical fibres, materials commonly found in everyday clothing and footwear that increasingly persist within soils, waterways and geological formations.

The work is informed by emerging evidence of plastics becoming incorporated into sedimentary processes, contributing to new hybrid materials such as plastistones. Here, synthetic matter appears to colonise the rock surface, suggesting a speculative ecology in which manufactured materials become embedded within geological time.

Hovering between beauty and unease, False Mycelium reflects upon the capacity of synthetic materials to imitate living systems while simultaneously disrupting them. The work considers how petrochemical matter has become entangled within contemporary environments, producing new and often troubling relationships between nature, manufacture and the geological record.

l55 x 45 x 65cm

Fugitive Blue - Himalayan Poppy, 2026 by Alison Philp

Watercolour monotype on Shoji paper.  Three prints taken from the same plate consecutively.

Each image is 17 x 21 cm. 

Carapace - a memory drawing, 2026 by carrie stanley

A continuous line drawing in wool on upcycled fabric sewn onto a wire armature. The memory of making an oyster shell grotto at Devil's Dyke last year.

100 x 40 cm