Highlights

The Sum of All Wonders Lies in Ruins, 2024 by Neil Childs

Five rows of steel reinforced concrete fragments, supported on rubber inner tubing, a scaffold mechanism for renewal or the elements for hot housing. Nothing to be afraid of.

150 x 120 x 80cm

Distant Aviary, 2021 by Milena Michalski

Cyanotype toned in mint leaves and green tea on Fabriano Academia paper, wood frame with AR70 glass

These aviary prints are part of 'Enmeshed', my series of cyanotypes on Fabriano Accademia paper, created for Michaela Nettell’s book ‘LESS A BUILDING: Interactions with the London Zoo Aviary’, published September 2021.

These cyanotypes originate from photographs, many taken by me on 35mm film during the Covid-19 pandemic enforced isolation period, when the aviary was undergoing transformation, others taken by Michaela Nettell earlier, when the aviary could still be entered.  I developed my Ilford HP5 Plus film in a homemade leaf solution, and exposed the cyanotypes in sunlight. Some prints in this series were also toned in leaves or wine tannin. The interaction of nature and the man-made is key in both subject and process of this work.

34.5 x 39 x 3cm

Only At Night Do We Know Where We Are, 2024 by Chris Wilson

Acrylic on canvas, this painting exhibits two perspectives, aerial and linear. The lower edge can be read as both an aerial view of a coastline, ie a map, or as a mountain profile, linear perspective.

100 x 100cm

The Old Ways, 2025 by Andrew Carnie

The Old Ways. PLA Polylactic acid.

190 x 70cm