Category: Uncategorized


Below is the first draft of an essay written for (but then ultimately cut) from our book Navigating the Art World: Professional Practice for the Early Career Artist. As it is only a first draft, Transhistoricality is in a pretty rough state, but we thought it could be of some interest as it is.

The book is still available, and can be found HERE


Transhistoricality - Untitled (Perfect Lovers) by Felix Gonzalez-Torres
Transhistoricality – Untitled (Perfect Lovers) by Felix Gonzalez-Torres


In his seminal 1996 work of aesthetic philosophy After the End of Art, Arthur C. Danto discusses the idea that art, as suggested in the title, is over. This is not something to be railed against however, as it is not quite as literal and as frightening as it at once appears. 

What Danto is actually suggesting, is that we have now moved into a period of art that is free of the constraints with which it was once shackled, and into something new, as-yet-untitled, and more liberated than before.

Before the Renaissance, it could be argued (and indeed is, by Hans Belting in his book The Image Before the Era of Art) that art – in its current meaning, didn’t exist. Paintings were created by craftsman, and were not appreciated for their aesthetic beauty or for the skill with which they were created, but for the ideas they represented. These icons were often religious in content, and did not require the myth of the artist to validate their significance. It was only with the dawn of Modernism, and the Impressionists in particular, that a real philosophy of art was necessitated, or even possible.

Artists became as important as their work, and the philosophy of why something was made, what it meant, and why that was significant, became salient things to consider when critiquing a work of art.
It was no longer enough to appraise a painting based on its aesthetic qualities alone, and in a very real sense, the early Modernists weren’t creating ‘art’ as it had been understood previously.

Arthur C. Danto describes the period of ‘art’ as being between AD 1400, and up to (but not including) Andy Warhol’s Brillo Boxes of AD 1964. His reason for this is that the period in question was, in his mind, the ‘Age of Manifestos’. This period was characterized by successive movements that either built upon, or rejected, the idioms and style of the previous movements. Each movement claimed to have discovered the essence of true art, and as such, decried that any other movement was irrelevant. Their art was ‘true’, whereas all others work was not. These movements were limited to a specific time period, and often to a specific place, and anything outside of that was irrelevant. The movements fell into and out of fashion, and these fashions dictated what succeeded at the time.

All artwork that was made during the Age of Maifestos was identified as being of a certain movement (often to the artists’ chagrin), and nothing sat outside of at least one particular movement. 

What Danto argues, is that this all ended with Andy Warhol’s Brillo Box sculptures, because up until that point, all art could be characterized to being of a certain movement based upon it’s aesthetic alone, and it could be judged as being successful as an artwork (or otherwise), based on this criteria. What happened with the Brillo Boxes (Danto argues) is that now, one could not simply enter a gallery with one’s one critical faculties alone and review an artwork, but rather one now needed a contextual framework, including the artist’s intent, biography, and philosophy, before one could really understand the work.
This is what brought about the real need for a philosophy of art. Not the aesthetic philosophy that dealt with such abstract questions as ‘What is beauty?’, but rather, the much harder to answer questions such as ’What is art?’. 

What is art is a question that until the dawn of Modernism, was simply not asked. Art after the dawn of Modernism was constantly in flux, with each movement stating that only they were to be called the true artists. After the Age of Manfestos, no one movement or group of artists could deny any other’s validity as artists, as anything, and everything, could be art.

More than this, as artists now need not be restricted to a certain stylistic paradigm dictated by the dominant movement at the time, and their influences and inspirations can come from anywhere.

Pre-Modernism, artworks were historical or Religious; during the ‘Age of Manifestos’, artists strove create the new; after the end of ‘art’, artists were free to paint anything and everything, free from the temporal and stylistic constrains of the past.

Another thing that the end of art, and Pop Art in particular orchestrated was the blurring of the line between ‘highbrow’ and ‘lowbrow’, allowing for the first time the twee, the kitsch, and the cute, to be considered as worthy subjects for art. Artists are now freer than ever to reference everything and anything, and nothing is off-limits.


In her catalogue essay for the Forever Now exhibition of contemporary abstracts at the Moma, Laura Hoptman calls this ‘Atemporality’ – which means that now artists need not feel confined to any particular style, movement, or genre. Rather, they are free to take their inspiration from all and any point on the art-historical timeline that they wish, as now more than ever before, our connection to the past is strengthened by our ‘post-historical cultural condition”.

Art history exists in a straightforward line from the cave paintings of our ancestors, to some point during the Age of Manifestos (in Danto’s mind it is until Andy Warhol’s Brillo Boxes) at which point it explodes like a firework and shoots off in an infinite number of directions. History is no-longer linear, and from this point there are no dominant movements that discount, or attempt to discount, all artists who decide not to conform to their ideals. 

Today we live in a time of limitless knowledge, easily accessible and at our fingertips. Our inspirations have always been multifarious and difficult to discern in origin, but now more than ever we are able to digest and distill information from countless disconnected and even contradictory sources, with the aim of using these to generate something new. 


For artist’s today, this can be incredibly liberating. No longer do they have to ascribe to a particular movement, and they can make whatever crazy idea comes into their heads, without the worry that anyone is able to deny its position as art. The debate now becomes whether a work of art is good or bad, successful or unsuccessful, original or derivative, but no more is it whether something is or isn’t art. An artist’s intent is now all that can be questioned, but if something is created as an artwork sincerely, then it unquestionably is.

Our show Antisocial Isolation reopens at Saatchi Gallery!

Delphian Gallery presents ‘Antisocial Isolation’, a group exhibition at Saatchi Gallery, which brings together a collection of some of the most exciting early-career artists working today. Closed during the start of the lockdown, is now due to reopen on the 9th of December!

Saatchi Gallery - antisocial isolation
Saatchi Gallery install shot Antisocial Isolation

Artworks as records of history mediate the transitory space between what we experience and our shifting perceptions of those experiences. All of the works included have either been made during the current Covid19 pandemic, been made in response to it, or have developed new potential contexts when viewed from within it.

This exhibition is presented in a new liminal space which is neither isolated nor social. Embedded within each work are a myriad of shifting signifiers that are decoded afresh by each viewer, whose subjective lens endows the art with fluid meanings that are entirely unique.

The future will never be the same again. Here is now.

Artists include: Amy Beager, Anne Rothenstein, B.D. Graft, Benjamin Murphy, Danny Romeril, Enam Gbewonyo, Eva Hu, Florence Hutchings, Galina Munroe, George Lloyd-Jones, Igor Moritz, Jeroen Cremers, Jukka Virkkunen, Kadiya Qasem, Lian Zhang, Matt Macken, Minyoung Choi, Miranda Forrester, Moley Talhaoui, Nettle Grellier, Nick JS Thompson, Rhiannon Salisbury, Rosie Gibbens, Rosie McGinn, Sam Harris, Sunyoung Hwang, Valerie Savchits.

To book tickets click HERE

(Tickets are free)

More News From Nowhere

More News From Nowhere is an exhibition encompassing works from some of the most exciting artists working in Finland today.
Curated by artist and gallerist Benjamin Murphy, this show brings together works from artists represented by the biggest galleries in the country. More News From Nowhere is an immersive exhibition that will present works from a plethora of media, including painting, sculpture, and ceramics.

More News From Nowhere

Initiated in-part as a response to the ongoing Covid19 situation, MNFN is intended to provide some much-needed excitement in this unusual time. As galleries and exhibitions move online, MNFN exists in this in-between space, existing both physically, and through documentation and presentation online. The duration of the show exemplifies and echoes this fleeting and uncertain time we find ourselves in.

Artists Exhibiting

Jenni Hiltunen, Jussi Goman, Tuukka Tammissari, Peetu Liesinen, Benjamin Murphy, Dorian Bajramovic, Olli Piipo, Heini Aho, Wilma Väisänen, Timo Vaittinen, Piia Hiltunen, Konsta Ojala, Hermanni Keko, Petri Ala-Maunus, and Ari Pelkonen.

Collective Ending, A Land of Incomparable Beauty

Incomparable Beauty
A Land of Incomparable Beauty, Collective Ending HQ (July—August 2020). Image courtesy and © Collective Ending.

A flag hangs on a wall with a creeping, knobbled finger curling in invitation. Above the finger is written in large black letters, ‘Something Bad Is Going To Happen’. I wonder, had I seen Allen Gardener’s gnarled hand and ominous message in March, would I have taken it so presciently? It is trite, and most certainly over-done, to compare everything along a pre- and post-pandemic line, but in this show where everything speaks of the spectral, the weird and the mantic, I can’t help but see it as prophecy.

As Gardener’s work predicted, something bad did happen. Stalled by the global spread of coronavirus, Collective Ending‘s first show in their new HQ was delayed until the beginning of July. After staging three bacchanalian shows in the Spit & Sawdust pub in Bermondsey, titled in the series ABSINTHE, the group has settled in its HQ in Deptford, a large double-height warehouse with studios nestled in the eves and at the rear. Having a permanent space, and one in which its members can work alongside one another, is fuel for the group’s mission: giving art back to the artists, empowering them through reciprocal relationships. Collaboration, working against the scarcity ethics of the art world, is a central value of the group, hence its invitation to thirteen artists outside of the collective to display their work in its new space.

And they have followed the theme of the weird and the uncanny that began with ABSINTHE. A Land of Incomparable Beauty tells of “the sinister and eldritch underbelly, the skull beneath the skin of the countryside”, as the curators describe. It pries apart our construction of rural utopia that is particular to England, looks in its corners and behind its twitching curtains. The proximity between nature and horror is keenly felt; upon arrival, you are greeted by a spidery, twisted canvas by Luisa Mè, its arms reaching and crawling in terrible technicolour. There is an eeriness, a sense of threat from the phallic, totemic, sculpture of Irvin Pascal, and the Celtic symbolism of Jonathan Kelly’s twin canvases studded with rudraksha seeds.

incomparable beauty
Welcome (Sent Forever)’ (2019) by Beth Emily Richards

The philosopher Mark Rowlands has written that “when life is at its most visceral, and therefore also at its most vibrant, it is not possible to separate exultation from terror.” Like this, all the impeccable utopia that we imagine exists in the countryside is underwritten by a second script, a buzzing, uncanny monologue. A Land of Incomparable Beauty alerts us that our view is partial. I grew up in Somerset, a beloved corner of England’s countryside, the ‘hush of nature’ where Samuel Taylor Coleridge and Jane Austen wrote. And yet I saw more of my home turf in this exhibition, with all its darkness and mire and collapse, than in any pastoral landscape.

Yet this show is not simply about stripping away our constructions, but about filling in gaps. It illustrates the longing in the utopic vision of England’s “green and pleasant land”. Our nostalgia for the rural denotes much more than a loss of the natural, but a sense of the loss of the human, of man’s connection to the authentic and divine. Works like Beth Emily Richards’ audio piece, a recording of Cornish residents performing a lost choral practice formerly used to send messages to heavenly friends or loved ones, and Hadas Auerbach’s glass plates, elfin drawings covered in baby’s breath and weeds, are reminders of the magic and mystery still alive underneath the housing estates and care homes, the out-of-town supermarkets and car showrooms.

The works on display are powerful, considered. It takes an adjustment of the eye to connect them to the curatorial theme, but it’s no bad thing for an exhibition to require some interpretative work. Besides, just as the underlying horrors of the countryside, the muck and the sublime, are beneath the surface, so is the impetus of this show; a humming, thrumming line connecting a diversity of artists through a compelling, unexpected theme. Marshall Berman’s description of modernity is one that fits well, that ‘to be modern is to experience personal and social life as a maelstrom, to find one’s world and oneself in perpetual disintegration and renewal… to be part of a universe in which all that is solid melts into air’. Like this, A Land of Incomparable Beauty reminds us that our eyes are gently blinkered, that the ground is not steady beneath our feet, that nature, spirits, the mystical lie always in wait.

Incomaparable Beauty
A Land of Incomparable Beauty, Collective Ending HQ (July—August 2020). Image courtesy and © Collective Ending.

Words by Stella Botes

ANNOUNCEMENT – our first book is OUT NOW!

Delphian Open Call 2020 Winners Announced

The open call this year received an amazing response, and it was an exceptionally tough job whittling down all of the incredible submissions to just 39. With the help of our great judges Kristin Hjellgjerde, Tabish Khan, Henrik Uldalen, Wingshan Smith, and Rhiannon Salisbury, we got have them down to the list below.

The open call this year received an amazing response, and it was an exceptionally tough job whittling down all of the incredible submissions to just 39. With the help of our great judges Kristin Hjellgjerde, Tabish Khan, Henrik Uldalen, Wingshan Smith, and Rhiannon Salisbury, we got have them down to the list below.

If your submission was not successful, please don’t take this to mean that your work wasn’t strong. To cut down the thousands of submissions to the below 39 was incredibly difficult, and we could have created multiple shows out of the submissions received.

We will be announcing the Overall Winner, and the Judges’ Picks soon, but in the meantime, here are our 2020 #DelphianOpenCall winners!

Delphian Open Call Winners 2020

Azadeh Ardalan
Emi Avora
Richard Ayodeji Ikhide
Amy Beager
Rebecca Brodskis
B Chehayeb
Minyoung Choi
Plum Cloutman
Carlo D’Anselmi
Lisa Golightly
Georgia Grinter
Delia D Hamer
Connie Harrison
Lenia Hauser
Indiana Hoover
Ralph Hunter-Menzies
Rich Jones
Juliana Julieta
Hari Katragadda

Thomas Mau
Hazel Miller
Katie Mullender
Adrian Caicedo
Joseph Olisaemeka Wilson
James Owens
Dzvinya Podlyashetska
Delphine Rama
Danny Romeril
AK Sebastian
Tracey Slater
Guus Smeulders
Ege Subaşi
Ammar Syed
Mircea Teleagă
Emeli Theander
Michael Thompson
Anne Torpe
Massimiliano Usai
Diana Zeng

If your name is not on the winners list this time, remember you can still submit works for consideration to be featured on our social media by tagging us in your posts on Instagram and adding the hashtag #DelphianOpenCall

My favourite Australian Artists – selected by Jordy Kerwick.

Text written by Emiy Quli

Amidst the chaotic upheaval the world has gone into, the art world is still very much alive and more accessible than ever. Artist’s digital presence means that you do not (and should not!) need to leave the comfort of your home to view the greatest emerging artworks. Although exhibitions may have been postponed and galleries are shut, this is a better time than any to discover new artists. From overwhelming canvases with explosions of colour to progressive surrealist paintings, Jordy Kerwick has seletected his favourite Australian artists to help you explore the emerging contemporary art scene in Australia. 

For more from Jordy see his episode of the Delphian Podcast

Louise Gresswell @LouiseGresswell

Australian artists

Louise Gresswell is an exciting experimentation of colour, texture and light.  She provides a refreshing and inspired new way to engage with the same colours we see daily. Gresswell plays around with shape and paint inventively to create new spaces within the canvas. Gresswell also repeatedly finds new ways to use oil paint to create interesting textures and movements in her paintings.

Rachael McCully @rachaelsmccully

Australian artists

Working with an array of mediums, Mccully’s work is a solid example of the endless potential with block colour. Her art engages and attracts people with her bright, humorous statements. Using the #trueselvesproject on her Instagram she uses these same playful colours to offset the melancholic musings of a generation whose worries often struggle to surface above the traffic of  endless streaming of information, news and interactions. 

Rhys Lee @rhyslee_

australian artists

“A master of combining dark and sometimes scary subject matter with every colour from a rainbow. Not an easy feat. And has absurd technical skills” – Jordy Kerwick 

Rhys Lee has the capacity for making even the macabre beautiful. His work appears to be a regeneration of the Fauves – dissecting and reimagining the reality around us. In the dark portraits that Lee presents the observer with, he places within it an even darker truth about identity and its place in society. His portraits present the observer with a range of characters from the female nude to a comical frog. It is through these figures that Rhys Lee truly has created his own distorted reflection of life, through the animation and excitement he places in each of these portraits. 

Lucy O’Doherty @lucyodoherty

Australian artists

There is a smoothness to O’Doherty’s works that can only be likened to the smoothness one experiences in the vision of a dream. Her work with pastels blends and fuses the image from its actuality into all its ethereal potential. O’Doherty’s art doesn’t seem tangible but instead each pastel work seems to have been drawn from the collective memories of every observer. 

Amber Rose Walis @amberrosewallis

Australian artists

“Ballsy and big and dark and brooding. Perfect blend of femininity and masculinity.” – Jordy Kerwick 

The work of Wallis is simply engulfing. The observer is at once immersed into this explosion of colour, paint, experimentation and self – expression. There seems to be no limitations or restrictions when it come to Amber Wallis. She is perpetually defining and redefining new boundaries of paint and canvas work. With each colour merging into the next and each paint stroke taking the painting in a completely new direction – Wallis truly is an exciting artist. 

Heidi Yeardley @heidi_yeardley

11 Australian artists

“Australia’s best surrealist. Combining sex and kitsch and beautifully made traditional oil paintings.” – Jordy Kerwick 

Yardley is the surrealist that brings the reality of our bodies into supreme awareness. Focusing predominantly on female subjects, she utterly reinvents perspectives of approaching the body. Each painting is a new angle, a new censor, a new focus. Her work is unpredictable and inspired, she is redefining feminine beauty into one with boldness, bravery and absolute confidence in their sexuality.

Justin Lee Williams @artjlw

Australian artists

Justin Lee Williams is a fusion of culture, colour and creativity. All of his work collectively melts into each other, depicting a colourful image of life holistically. But on a closer look it becomes apparent that they are all enriched with individual stories, characters and images. It is this that isolates his artistry – his credibility to tell a whole story within his paintings with no words except the elusive titles he provides. 

Sally Anderson @sallyleeanderson

Australian artists

Blues and greens are the colours of mindfulness. And blues and greens are the colours of Sally Anderson. It is nearly impossible to look at one of her artworks without feeling instantaneously soothed. Anderson predominantly works with shapes within these colours which demonstrates the margins and liminalities of the blues and greens. Her constant creativity to find ways to regenerate these colours in new and interesting artforms revitalise the contemporary art scene. 

Tom Polo @tompolo

Australian artists

Tom Polo’s paintings are reminiscent of childhood experimentations with colour. His works are vibrant, articulate and detailed. The colours in the painting merge and flow into each other beautifully. With illustrative beginnings, these stunning pieces encourage emancipated technique and thought. 

John Bokor @johnbokor

australian artists

John Bokor’s paintings are a beautiful impression of daily life. The charismatic palette throughout his works injects reality with a vivacious breath of fresh air. With their animated potency, even his still lifes feel energetic. He creates a vibrant, exciting and fun reflection of the world through his paintings. 

Adam Lester @adslester

Australian artists

There is a subtly to Adam Lester’s works that draws the observer in closer due to their enigmatic style. Lester uses colour not as a focal objective but advantageously,  to isolate the image he is trying to present. This draws the attention of the observer to images of polo players, jazz players, guitar players to name a few. Lester uses these eclectic characters to show the simplicity and at the same time the fullness of life. 

Sensitivity to Life – Jean Nagai & Benjamin Murphy

Jean Nagai
Stars    ink on paper   28cm x 20cm    2005

Benjamin Murphy – First question then: why are you an artist

Jean Nagai – When I was 2years old, I fell from an apt window and died for a few minutes. Somehow being an artist was the next logical step
I had some colorful visions while I was between the two worlds.

BM – Holy shit. So do you remember it?

JN – Yes, I remember it. Not specific shapes colors or shapes, details, memories get more vague over time.

BM – How old were you?

JN – I was 2 yrs old. I also remember there was a figure near me as I floated upwards

BM – Do you ever wonder what you would have become if this never happened?

JN – No, I have not had that thought. I was so young, I wouldn’t know if I would even consider myself conscious at that time.

BM – Or what your artwork would be like has it not happened.

JN – Maybe I would have not taken the path of art? Maybe I would have become a cook, like my parents

BM – If for some reason you couldn’t make art any more, do you think becoming a cook is something that you’d consider?

JN – The possibility of what i would do with my life without art seems quite depressing. I don’t know.

BM – Yeah it’s hard to imagine. So what else do you do besides making art?

JN – Hmmm, these days I’ve been traveling a bit. Just spent a couple months in Thailand, and made a large painting for a solo show. I saw the most incredible show in Tokyo where I saw my friends MSHR open for Incapacitants. Honestly it may have been the best show I’ve ever experienced! The sounds, the energy, I felt so proud to see these old Japanese men create a sense of ecstatic bliss out of what could be described as chaos. I also like going on long hikes.

Jean Nagai
Wildlife Refuge 3   acrylic, sand on canvas  140cm x 274cm    2017

BM – So what art movements or artists are you particularly interested in?

JN – Oh geez, too many to answer… i like art that is hopeful, I like art that is spiritual and I also like when an artist reveals some darkness within us, like Santiago Serra or Bruce Nauman. Georgia O’keeffe is someone I admire greatly.

BM – What do you do when you’re struggling for inspiration?

JN – Oh my. So many things I do to stay inspired. These days it’s running or experiencing art through galleries or talking with other artists. Nature is key for me, and not just mountains but also all the energy that’s just blasting around the city is also nature for me.

BM – What is it that you want your artworks to do?

JN – Maybe what I wanna say with my work is to project a kind of sensitivity to life. Not necessarily fragility although life can be. I think it’s important for people to show that feeling, in art and in the real world.

BM – So one last question: fantasy dinner party, which people living or dead would you invite, you have 6 seats.

JN – Oh geez…your questions fill me with more questions and with endless possibilities…someone from the Denisovan tribe, ghengis khan, nikola Tesla, someone who has worked at area51, Ana mendieta, Jean Michael Basquit

Jean Nagai
Mushroom Head   acrylic, pumice, on canvas  200cm x 150cm  2019

For more conversations

Michael Swaney

Taylor A. White

Richie Culver

For more from Jean Nagai, here is his Instagram

2019 Thanks and Delphian X Guts install photos

Our final show of the year has come to an end, and so we would like to take the time to thank everyone we have worked with over this past year, as well as everyone who came to our shows.

Our next show will be a VERY exciting one, and we will be releasing some more information early next year. What we can say, is that it will be a solo show with someone whom we have exhibited in the past…

My Top Five – ‘College’ Group Exhibition at House of Vans by Hector Campbell

Presented at the House of Vans project space in the arches beneath Waterloo Station, ‘College’, curated by participating artist Brian Mountford, is a group exhibition showcasing work by both current students and alumni of the Royal College of Art. Focusing exclusively on painting, the exhibition aims to explore the mediums place within the current contemporary art scene, showcasing works by emerging artists with disparate styles and subject matter.


If you can’t make it to the exhibition, which runs until February 17th, here is a rundown of my top five artists with work on display in ‘College’, (in no particular order).


By Hector Campbell


Tristan Pigott

house of vans

Tristan Pigott, ‘Apparent Death’, Oil on board, 2018

Image Source


Tristan is currently studying for an MA in Sculpture at the RCA, having previously completed his BA in Painting from Camberwell College of Arts.

Working across painting, sculpture and installation, Tristan’s work presents contemporary society as viewed through a satirical lense, and questions the importance of visual art in the current age of image fixation and stimulus addiction.

Tristan’s has had recent solo exhibitions at Alice Black Gallery, London (‘Slippery Gaze’, 2018) and Cob Gallery, London (‘Juicy Bits’, 2017).




Louis Appleby

house of vans

Louis Appleby, ‘Mother England’, Acrylic on wooden panel, 2018.

 Image Source


Louis is currently studying for an MA in Painting at the RCA, having completed his BA in Painting from Wimbledon College of Arts.

Often depicting solitary television and screens within his work, Louis prefers to hint at an implied human presence rather than depict it explicitly. The use of words such as ‘Hello’ and ‘Goodbye’ displayed on the screens acts as a wry critique on our increasing reliance on television and it’s symbiotic relationship with it’s viewers.

Louis is represented by Castlegate House Gallery in Cockermouth, with whom she recently exhibited at last years London Art Fair.




Xiuching Tsay

house of vans

Xiuching Tsay, ‘The Unity of Time’, Oil on canvas, 2018

Image Source


Xiuching is currently studying for an MA in Painting at the RCA, having completed her BA in Fashion Illustration from the London College of Fashion.

Having moved away from figuration during her MA studies, Xiuching’s exploration into abstraction has been heavily inspired by her contemplation of water. This new direction allows Xiuching’s paintings to examine two worlds, the physical world and a parallel world of spiritual water beings.

Xiuching recently completed a residency at the Ne-Na Contemporary art space in Chiang Mai, Thailand




Henny Acloque

house of vans

Henny Acloque, ‘Sunday Smile’, Acrylic and oil on canvas, 2018.

 Image Source


Henny recently completed her MA in Painting at the RCA, having previously studied her BA at the University of the West of England.

Henny balances many contrasting idea and concepts within her work, comparing and juxtaposing fact and fiction, humour and solemnity, landscape and portrait. Inspired by Old Master works by artists such as Bosch, Bruegel, Durer and Ibbetsen, landscapes have always been the mainstay of Henny’s work, with her additions and distortions offering the viewer a point of escape and intrigue.

Henny has had recent solo exhibitions at Galerie Tristan Lorenz, Frankfurt (‘Jerk’’, 2016) and Ceri Hand Gallery, London (‘Life After Magic’, 2013). Her work features in ‘100 Painters of Tomorrow’ published by Thames and Hudson (2014)




Konstantinos Sklavenitis

house of vans

Konstantinos Sklavenitis, ‘Outis’, Oil on canvas, 2018.

Image Source


Konstantinos is currently studying for an MA in Painting at the RCA, having previously completed both a BA and MA in Fine and Applied Arts at Aristotle University of Thessaloniki in his native Greece.

Konstantinos’ textured oil paintings employ a vibrant palette of tonal primary colours to capture the memories and mythologies of his childhood growing up in Thessaloniki, Greece.

Konstantinos has exhibited international as part of group exhibitions at Triumph Gallery (Russia, 2018), Museo Nahim Isaías (Ecuador, 2017) and the Macedonian Museum of Contemporary Art (Greece, 2017).




For more by Hector Campbell see

We Are The People, Who Are You – Edel Assanti

Bloomberg New Contemporaries

Condo 2019


Lucas Price – Body Body

Lucas Price is currently exhibiting as part of the inaugural Bangkok Art Bienalle until Feb 2019, with the video work Body Body. 
We decided to catch up with him and discuss the emotive, and brutally honest work.

Lucas Price - Body Body

Lucas Price – Body Body

Can you please explain a little about what the video is about, and how you came to make it?
The video is a long series of screen tests of people who at the time of recording were immigrants in Thailand. I was recovering from a stay at a temple, where I had gone to detox from heroin. I felt that my body was under attack, from itself in a way, had been colonised by this thing. So I was thinking about that and the various ways people’s bodies are prone to pressure. I began by recording my drug dealer, then moved outward and began to record his friends, their peers, tourists, diplomats etc. I wanted to make something about my relationship to Bangkok, and it ended up being about being an outsider. So, it’s about that and moving through the world and how the body is coming and going in amongst all of this.
Body Body is obviously an incredibly personal project for you, how have you reconciled making the private public, and how did you decide what to include and what to omit?
I really feel that its a universal set of principles I’m trying to sort out. Like we all have to abide inside of our bodies. And we’re all trying to keep the show on the road. There are personal references, but I think it’s worth being honest if it means that somehow it allows for more of the same? That’s certainly my experience. Other people’s honesty makes room for my own. I don’t know if this works in the same way but it’s partly the intention.
Who are the people in the video, and how much has been explained to them about the project before filming?
The people in the film were…everyone was street cast. I made a studio in the back of a truck which I drove around Bangkok for a week. We went to slums on the outskirts, the hi so areas, the red light district, chinatown. Suburbs, tourist traps, immigration centres. Everyone was made aware that the film was a simple series of portraits, to be screened in a gallery. It was very ad-hoc but everyone was made aware of the nature of the project and I had consent throughout. The most interesting and eager to participate were the african sex workers, who at the time were under an enormous amount of pressure as the result of a crackdown by the Thai police called operation Black Eagle. They were rounded up every couple of nights and extorted or intimidated, squeezed for cash and then ultimately deported or sent to immigration centres on the way to being deported. I think they were the limit expression of that idea of being placed under extreme amounts of pressure.
There are a lot of mentions of the sea and drowning – both in a sinister, foreboding way, but also in a cleansing and regenerating way. What is the significance of water within this particular piece?
The sea…idk, it’s just a good place to be. A large body. It unified a lot of the experiences I have of travelling and being dislocated. It’s also…I was thinking about this idea of experience and awareness, of waves being parts of a whole thing..the wave is not the ocean, the ocean contains all the waves. Also shout out to The Waves by Virginia Woolf.
Do you see this work as being redemptive in any way, or is it a cathartic experience revealing such personal details?
I think the details aren’t so important as maybe trying to be honest and even earnest? I mean I’m cynical, and I don’t know whether the film is successful in any meaningful way…at least in the way I originally intended, but if I think about what is at stake, for me it’s certainly about being honest…like congruous or something.

It’s not about redemption, as much as making sense post meltdown. And whatever works in those conditions right? I’ve chastised myself for including my own stuff in my work in the past but…it’s like Nan Goldin or Brad Phillips. I like that honesty, it’s healing.



Check out his Instagram HERE



(Interview by Benjamin Murphy)