Vardaxoglou Gallery

Vardaxoglou Gallery Vardaxoglou is a modern and contemporary art gallery in London, founded in 2020. By appointment only

Forthcoming at VardaxoglouTanoa SasrakuTropical Ken11 September — 31 October 2026Private View: Friday 11 September, 6–8p...
13/08/2026

Forthcoming at Vardaxoglou

Tanoa Sasraku
Tropical Ken
11 September — 31 October 2026
Private View: Friday 11 September, 6–8pm
Vardaxoglou, 7 Royalty Mews

Vardaxoglou is pleased to present ‘Tropical Ken’, a new solo exhibition by current Turner Prize nominee Tanoa Sasraku. It is Sasraku’s third solo exhibition with the gallery and coincides with the Turner Prize 2026 exhibition on view at Middlesbrough Institute of Modern Art (MIMA) opening in September.

For further information please contact [email protected].

Tanoa Sasraku’s practice encompasses sculpture, drawing and filmmaking. Her work is rooted in the material and symbolic properties of land via landscapes, pigments, and minerals, and informed by a personal relationship to textiles and pattern making.

Tanoa Sasraku (b. 1995, Plymouth, UK) graduated from Goldsmiths (2018) and the Royal Academy Schools (2024). Sasraku is nominated for the 2026 Turner Prize. Recent solo exhibitions include, ‘Morale Patch’, ICA, London, UK (2026); ‘Man Engine’, Vardaxoglou, London (2023); ‘Tanoa Sasraku’, Vardaxoglou, London (2022); ‘Terratypes’, Spike Island, Bristol (2022); and ‘Liths’, Peer, London, UK (2023).

Tanoa Sasraku

Job OpportunityVardaxoglou is seeking a highly organised Gallery Assistant to help manage the front desk and provide ess...
03/08/2026

Job Opportunity

Vardaxoglou is seeking a highly organised Gallery Assistant to help manage the front desk and provide essential administrative support at the gallery.

Please visit the link in our bio for further information and details on how to apply. The deadline for applications is 17 August.

Niamh O’Malley recontextualises overlooked structures and materials drawn from the urban environment. Returning repeated...
22/07/2026

Niamh O’Malley recontextualises overlooked structures and materials drawn from the urban environment. Returning repeatedly to the motif of the ventilation grille, she investigates the systems and mechanisms that quietly organise contemporary life. In Vents (closed) (2026), included in ‘Case History’, cork and felt obstruct the airflow of the structure, partially disabling its function while amplifying its material and sensory presence. The resulting form oscillates between abstraction and figuration, with the blocked apertures acquiring bodily associations. In 2022, Niamh O’Malley represented Ireland at the 59th Venice Biennale. ‘Case History’ at Vardaxoglou continues until 1 August.

Niamh O’Malley
Vents (closed), 2026
Stained birch ply, cork, felt, card
65 x 86 x 9.5 cm
25 5/8 x 33 7/8 x 3 3/4 ins

Anthony Caro’s ‘Case History’ (2011) and Alex Margo Arden’s ‘Case History’ (2026) on view in our current exhibition at V...
19/07/2026

Anthony Caro’s ‘Case History’ (2011) and Alex Margo Arden’s ‘Case History’ (2026) on view in our current exhibition at Vardaxoglou until 1 August.

Anthony Caro
Case History, 2011
Steel, rusted
58.4 x 63 x 49 cm
23 x 24 3/4 x 19 1/4 ins

Alex Margo Arden
Case History, 2026
Waxwork head, trap, display case, plinth, fingerprints
150 x 30 x 30 cm
59 x 11 3/4 x 11 3/4 ins

Anthony Caro Centre Alex Margo Arden Vardaxoglou

Mike NelsonM6, 2013Silkscreen on newsprint63 x 97 cm24 3/4 x 38 1/4 ins
16/07/2026

Mike Nelson
M6, 2013
Silkscreen on newsprint
63 x 97 cm
24 3/4 x 38 1/4 ins

Prunella Clough’s ‘Slag Heap’ (1958) is currently on view in ‘Case History’, a group exhibition at Vardaxoglou examining...
15/07/2026

Prunella Clough’s ‘Slag Heap’ (1958) is currently on view in ‘Case History’, a group exhibition at Vardaxoglou examining how artists use machinery and industry to explore psychological states, political influence, bodies and public architecture, and war.

Prunella Clough’s Slag Heap (1958) reflects the artist’s sustained
engagement with the industrial landscapes of post-war Britain. Coal waste, industrial debris, and factory architecture provided a rich visual vocabulary that informed much of her practice. During the 1950s and 1960s, Clough increasingly abstracted these observed forms, focusing instead on texture, rhythm, and surface. Characterised by ambiguity, restraint, and a densely worked pictorial field, Slag Heap demonstrates her ability to transform the material realities of industrial labour into a highly distilled language.

‘Case History’ at Vardaxoglou continues until 1 August 2026.

Image:
Prunella Clough
Slag Heap, 1958
Mixed media on board
27.7 x 31.3 cm
10 7/8 x 12 3/8 ins

Kentaro Okumura is included in the group exhibition ‘Near to the Wild Heart’ at The Approach, London on view until 1 Aug...
14/07/2026

Kentaro Okumura is included in the group exhibition ‘Near to the Wild Heart’ at The Approach, London on view until 1 August 2026.

Image:
Kentaro Okumura
Foto, 2026
Mixed media on canvas
150 x 200 cm
59 x 78 3/4 ins

Kentaro Okumura The approach

Vardaxoglou is pleased to participate in Frieze London this year showing a selection of significant artworks by artists...
08/07/2026

Vardaxoglou is pleased to participate in Frieze London this year showing a selection of significant artworks by artists from the gallery’s programme. The fair is on view from 14 – 18 October 2026 in The Regent’s Park. For further information please contact [email protected].

Frieze

Tanoa Sasraku is included in our current group exhibition, ‘Case History’, on view at Vardaxoglou until 1 August. The ar...
01/07/2026

Tanoa Sasraku is included in our current group exhibition, ‘Case History’, on view at Vardaxoglou until 1 August.

The artist’s Subdued Morale Patch series, first exhibited in her recent solo exhibition at Institute of Contemporary Arts, London, offers a critical reworking of military insignia, transforming the visual language of service ribbons into fragile, fading artworks that interrogate the systems of meaning they were designed to uphold. Traditionally, military ribbons function as compact symbols of honour, encoding participation in campaigns and conflicts through distinct arrangements of colour and pattern. Sasraku uses these forms but strips them of their legibility and authority, reproducing their geometries through UV-printed newsprint that appears ghostly and incomplete. In doing so, she shifts the ribbon from a signifier of pride and recognition into a site of instability, where the narratives of nationhood and heroism begin to dissolve. The inclusion of binder clips, often colour-matched to the original ribbons, suggests the bureaucratic infrastructures that underpin military systems. By rendering military insignia as ephemeral and unstable, Sasraku undermines their authority as fixed markers of honour and instead reveals them as contingent constructions shaped by institutional and ideological forces. Sasraku has been nominated for the Turner Prize in 2026.

Tanoa Sasraku
Subdued Morale Patch [Enduring Freedom], 2025
Newsprint UV printed using a sun bed, binder clips, studio water, rust
39.4 x 83.6 cm
15 1/2 x 32 7/8 ins

Tanoa Sasraku

‘Case History’, a group exhibition featuring works by Mike Nelson, Tanoa Sasraku, David Bomberg, Gillies Adamson Semple,...
19/06/2026

‘Case History’, a group exhibition featuring works by Mike Nelson, Tanoa Sasraku, David Bomberg, Gillies Adamson Semple, Nicolas Deshayes, Kira Freije, Magali Reus, Niamh O’Malley, Anthony Caro, Prunella Clough, and Alex Margo Arden, is on view at Vardaxoglou until 1 August 2026. For further information please contact [email protected].

Artwork:
David Bomberg (1890–1957)
Bomb Store, 1942
Oil on paper laid on canvas
41.9 x 58.4 cm
16 1/2 x 23 ins

From 1911 to 1913 David Bomberg was the pupil of Walter Sickert at the Slade School of Fine Art, funding himself through art school by working as a life model. Bomberg served in the trenches during World War I, and during the war both his brother and his close friend and fellow Slade student Isaac Rosenberg died. After 1918, and especially from 1920 onwards, he practised a rigorous Cubism, based on powerful angular forms and near to abstraction, although centred around figurative reference points. In 1929, after a trip to Spain, he abandoned his previous style, turning instead to a more informal whilst still dynamic Expressionism in which line is subordinate to stark, thickly built-up colour. Between 1946 and 1953 he was a lecturer at Borough Polytechnic, teaching such young painters as Frank Auerbach and Leon Kossoff.Produced in response to a commission from the War Artists’ Advisory Committee, David Bomberg’s Bomb Store (1942) belongs to one of the most significant series of British wartime paintings. Following a visit to the vast underground munitions depot at RAF Fauld in Staffordshire, Bomberg transformed the labyrinthine tunnels, stacked bombs, and military infrastructure of the site into a vehicle for abstraction. Characterised by dynamic linear brushwork and a compressed sense of space, the painting fuses architecture, machinery, and human activity into a densely structured composition. Often compared to the cavernous architectural spaces of Piranesi’s Carceri etchings, the Bomb Store paintings are widely regarded as among Bomberg’s greatest achievements and a landmark contribution to British art.

Address

7 Royalty Mews
London
W1D3AS

Opening Hours

Wednesday 11am - 6pm
Thursday 11am - 6pm
Friday 11am - 6pm
Saturday 11am - 6pm

Telephone

+442081549096

Website

Alerts

Be the first to know and let us send you an email when Vardaxoglou Gallery posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.

Contact The Establishment

Send a message to Vardaxoglou Gallery:

Shortcuts

Share

Category