Highlights

'Ceasefire 3. The Kiss of Enemies', 2025 by Ricky Romain

'Ceasefire 3. The Kiss of Enemies'. Oil and Indian Ink on Gesso on Canvas. 112cm x 88cm. 2025

112 x 88cm

GOLLWNG // SLOUGH, 2025 by Alice Forward

GOLLWNG//SLOUGH is the trace of a huge charcoal drawing that covered the east wall of Capel Bethel in Cwmrheidol until March this year. It is the aftermath of the shedding of a latex skin which now holds the drawings imprint, like a giant tattoo.

The drawing was an extemporisation from photographs taken by the artist and other explorers of long abandoned lead and silver mines of Ceredigion. The chapel was built in 1872 to service the burgeoning local Welsh and incoming Cornish mining community of the Rheidol valley at the time.

There is a film of the process, as the latex rolled itself down the wall. Both the film and the object will premier at the National Eisteddfod 2025 in Wrexham this July.

400 x 600 x 0.3cm

Technical Lands, 2025 by Paul R Jones

Technical lands are spaces united by their "exceptional" status - their remote locations, delimited boundaries, secured accessibility, and vigilant management. Designating land as "technical" is thus a political act. Doing so entails dividing, marginalizing, and rendering portions of the Earth inaccessible and invisible. An anti-visuality of technical lands enables forms of hypervisibility and surveillance through the rhetorical veil of technology. Including the political and physical boundaries, technical lands are used in highly aestheticized geographies to resist debate surrounding production and governance.

The Accident, 1996 by Silke Dettmers

This actually happened: The sound of her shoes on the spokes of her mother's bicycle was mesmerizing; and it was all hers!

And then her foot got stuck.

The doctors had to change the cast three times. Before the accident, she had just learned to walk, and now nothing could stop her. In every photo from that time, she's crying.

80 x 62 x 35cm