The Tagli

ART ADVISORY / ART STRATEGY / CULTURAL STRATEGY

23/08/2026

Simon Linington
Night thoughts, 2026
Pigment in a glass tube with an acrylic bracket
100 x 2.6 cm
39 3/8 x 1 in

An array of slender glass rods, each sealed and filled with pigments, mixed by Linington and inspired by the many different hues of sand found at Alum Bay on the Isle of Wight. The wall-mounted tubes are held in vertical formation, with the cool exactitude of a scientific study. Elegant and slightly uncanny, the forms have something that has been extracted from a landscape and carefully preserved. Sand, of course, is the slow product of stone worn by water over millennia. It represents the substance that more than any other defines the edge where land meets sea. Linington mixes his pigments by hand, building a colour field that captures differing hues of the Isle of Wight. The faded brightness of the British seaside, a once vivid place now melancholic and softened by sun and salt. His interest, he says, lies in the mirage of home and the shimmer of something just out of reach. Sofia Hallström

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22/08/2026

Inviting a fragility and tenderness, Leon Scott-Engel’s practice is open in its emotional and physical vulnerability… Often pulling from personal memories, tender images, bruises, stains and residues of contact build across their surfaces, mapping an implied presence of intimacy and being; a soft impression left behind in the wake of a memory.

Leon Scott-Engel
Dropped Your Guard, 2024
Oil on plywood
35cm × 25cm
13 3/4 x 9 7/8 in

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21/08/2026

Piers Alsop
Melon moon, 2025-26
Oil, wire mesh, found wood, cedar cubes, PVA and mixed media on jute
39 x 42 x 2 cm
15 3/8 x 16 1/2 x 3/4 in

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20/08/2026

Ahead of Lucas Dupuys’s upcoming presentation at Frieze Seoul -

Lucas Dupuy
‘One Panoramic View after another will unfold’, 2024
Acrylic on hessian
220 x 100 x 3.5 cm
86 5/8 x 39 3/8 x 1 3/8 in

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19/08/2026

Afonso Rocha
Untitled, 2025
Black pen and collage on paper, framed in acrylic box
44 x 56.5 cm
17 3/8 x 22 1/4 in

In Rocha’s process of collage, different layers of information, references, and ideas are consecutively placed atop one another creating new compositions characterised by their contradictory and emotional ambiguity. Intimate matters and recollections are often important sources for visual concepts, but references span from literature and photography to social media, cartoons, erotic representations, among others.

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18/08/2026

Salvatore Pione
Processo All'intenzione, 2024
MDF, steel, shellac, graphite
125 x 85 x 5 cm
49 1/4 x 33 1/2 x 2 in

Salvatore Pione (b.1995, Italy) is a multidisciplinary artist working across sculpture and installation. Drawing on the traditions, symbols, and social codes of Southern Italy, he examines how cultural values are inherited and embodied through generations.

Raised in rural Sicily within a conservative and patriarchal environment, Pione’s practice reflects on how social structures shape personal and collective identity. His work explores the relationship between religion, masculinity, and desire, questioning the ways in which inherited beliefs and conventions continue to influence our experiences of belonging.

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17/08/2026

Lottie Stoddart
How Fair Art Thou, 2026
Acrylic and oil on canvas
107 x 96 cm
42 1/8 x 37 3/4 in

Centred on the painting as object, Lottie Stoddart’s work draws upon historical artefacts, botanical illustration, archaeological research and fictional narrative. These varied sources are brought together in contemporary cabinets of curiosity, where scientific observation sits alongside mythology and devotional imagery, and objects become vessels for interpretation.

Through these assembled worlds, Stoddart explores how knowledge is constructed through objects and images. Her work considers the shifting relationship between history and myth, science and imagination, inviting viewers to uncover unexpected connections between the natural world, material culture and storytelling.

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16/08/2026

Inside the Austin, Texas home of Suzanne McFayden - writer, philanthropist, prolific collector of contemporary art, former board chair of the Blanton Museum of Art and trustee of the Studio Museum in Harlem.

Interior designer Vaughn Miller Studio and architect Paul Lamb Architects created a new home for the collector and philanthropist’s art collection.

“Lamb and McFayden pored over McFayden’s extensive collection, a compendium of soul-driven acquisitions that reflect her multi-layered identity as a Black woman, mother, immigrant, and survivor. “It wasn’t until I went to Art Basel (in Switzerland) in 2010 that art became personal. I saw myself represented, unlike what I learned in art survey courses at Cornell, where the art was so external to all I am,” McFayden says. The artwork they ultimately selected, she says, “is an extension of how I’m feeling and who I am.”
 Photographer: Douglas Friedman
Images courtesy of via Douglas Friedman / Architectural Digest

LivingWithArt

14/08/2026

Mary Macken Allen
Vessel, 2024
Screen print, oil, distemper, jesmonite, and button on linen
51 x 56 cm
20 1/8 x 22 in

Through varied and contrasting applications of paint and print, Mary constructs spaces where diﬀerent temporalities coexist. Figures appear doubled, fragmented, or suspended between presence and absence, so that earlier and later selves, or traces of others, occupy the same image. She is drawn to the tension between a desire for coherence and the instability beneath it - a self that is performed, held together, yet always at risk of slipping or dispersing.

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13/08/2026

William Lowry
Ark I (Flood), 2026
Acrylic, pencil, and pen on board; wood stain, acrylic,
birch, MDF, 3D printed resin, and mild steel
65 x 40 x 49 cm
25 5/8 x 15 3/4 x 19 1/4 in

Alongside drawing and printmaking, Lowry uses materials such as aluminium, plywood, resin, acetate, perspex and light, as well as processes including 3D printing, projection and sound. These works often take the form of small structures, shrines, kiosks or machines for looking. He is drawn to devotional objects, reliquaries and apocalyptic image traditions, where illumination and catastrophe sit side by side.

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