Hales Gallery

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Hales Gallery Contemporary art, est. 1992
London / New York

OPENING TIMES

London:
Thursday - Saturday, 11am-6pm
or by appointment

7 Bethnal Green Road
E1 6LA, London, UK
T +44 (0)20 7033 1938

________

New York:
Thursday - Saturday, 11am-6pm
or by appointment

547 West 20th Street
NY 10011, USA
T +1 646 590 0776

On View | Shelley Niro: Karonhiá:ke Tiakoia’tén:en Iakón:kwe Teionkhiiahkwatá:se / Sky Woman is All Around Us at Centre ...
23/10/2026

On View | Shelley Niro: Karonhiá:ke Tiakoia’tén:en Iakón:kwe Teionkhiiahkwatá:se / Sky Woman is All Around Us at Centre d’art daphne, Montréal, Canada

🔗Link in bio to learn more.

Hales is pleased to share Shelley Niro’s solo exhibition at Centre d’art daphne, which offers a powerful reimagining of Sky Woman, the foundational figure of the Kanyen’kehá creation story. Drawing on a matriarchal worldview rooted in Haudenosaunee philosophy, Niro brings Sky Woman into the present, embodying her through the women closest to the artist—her mother, daughter, granddaughter and artist friends.

Across photography, painting, pastel and multimedia works, Niro creates a continuum between cosmology and contemporary Indigenous life. Through humour, intimacy and experimentation, Sky Woman emerges not as a figure confined to the past, but as an active presence: falling, flying, resting and adapting. Niro celebrates the strength, knowledge and agency carried by women across generations, reframing creation as an ongoing and collective process.

Images: Installation views, Shelley Niro: Karonhiá:ke Tiakoia’tén:en Iakón:kwe Teionkhiiahkwatá:se / Sky Woman is All Around Us at Centre d’art daphne, Montréal, Canada. Photo by Mike Patten, courtesy of Centre d’art daphne

Centre d'art daphne

Closing Soon | ‘Haroun Hayward: Path through Trees’ at Pallant House Gallery, Chichester, UKThrough 1 November 2026🔗Link...
22/10/2026

Closing Soon | ‘Haroun Hayward: Path through Trees’ at Pallant House Gallery, Chichester, UK

Through 1 November 2026

🔗Link in bio to learn more.

‘Path through Trees’, Haroun Hayward’s first solo institutional exhibition, is in its final weeks at Pallant House Gallery, Chichester. Developed following a joint residency with Pallant House Gallery and West Dean College, the exhibition presents a new body of work informed by Hayward’s exploration of the Sussex landscape.

Drawing on abstract expressionism, 1990s dance music, rave culture, graffiti, and his mother’s South Asian and West African textiles, Hayward combines rhythm, colour and texture through a distinctive visual language.

The works also respond to post-war British artists represented in Pallant House Gallery’s collection, including Wilhelmina Barns-Graham, Edward Burra, Ceri Richards, Paul Nash and Graham Sutherland, whose work features in the concurrent exhibition ‘British Landscapes: A Sense of Place.’

Image 1: Haroun Hayward, Red Landscape (AUX88-Direct Drive), 2026. Photo by Andrew Judd
Image 2 & 3: Installation views
Image 4: Haroun Hayward, Landscape of The Vale-Moonlight (Metroplex), 2026. Photo by Andrew Judd
Image 5 & 6: Installation views, Haroun Hayward, Path through Trees at Pallant House Gallery, Chichester. Photograph by Chris Ison

Haroun Hayward Pallant House Gallery

Now Open | Andrea Geyer & Rotimi Fani-Kayode in ‘Queer Constellations: Photographs from the Aronowitz Family Collection’...
20/10/2026

Now Open | Andrea Geyer & Rotimi Fani-Kayode in ‘Queer Constellations: Photographs from the Aronowitz Family Collection’ at Columbus Museum of Art, Columbus, OH, USA

Through 21 March 2027

🔗Link in bio to learn more.

‘Queer Constellations: Photographs from the Aronowitz Family Collection’ brings together photographs spanning the early 20th century to the present day, exploring q***r identity, representation and visibility through the lens of photography.

The exhibition takes its title from Andrea Geyer’s ‘Constellations’ series, which reimagines archival photographs of women through intricate, kaleidoscopic compositions. Her work ‘Constellations (Hilde Radusch and Eddy Klopsch)’, 2018 centres on Hilde Radusch, a German le***an activist and anti-fascist resistance figure, and her life partner, Eddy Klopsch, who together provided refuge for women fleeing N**i persecution. Through the layering and transformation of historical imagery, Geyer brings overlooked q***r histories into focus, exploring themes of memory and visibility.

Created in the final years of Rotimi Fani-Kayode’s life, ‘Adebiyi’ (1989) belongs to a series of carefully staged colour portraits exploring the relationship between erotic fantasy and ancestral spirituality. Richly saturated figures emerge from dark backgrounds, recalling the dramatic light and shadow of Baroque painting while reflecting the artist’s exploration of identity, desire and Yoruba spiritual traditions.

Image 1: Andrea Geyer, Constellations. (Hilde Radusch and Eddy Klopsch), 2018
Image 2: Rotimi Fani-Kayode, Adebiyi

Andrea Geyer Columbus Museum of Art

Artwork Spotlight | Frieze London | Anthony Cudahy, Between storms, 2026Booth A2414 - 18 October 2026Regent’s Park🔗Link ...
16/10/2026

Artwork Spotlight | Frieze London | Anthony Cudahy, Between storms, 2026

Booth A24
14 - 18 October 2026
Regent’s Park

🔗Link in bio to learn more.

Hales is delighted to present ‘Between storms’ (2026), a new painting by Anthony Cudahy, at Frieze London.

Cudahy’s figurative paintings explore the nuances of human connection through intimate, tender and often enigmatic scenes. Personal and poetic, his compositions bring together figures and their surroundings through fluid brushstrokes, creating space for unspoken stories and open-ended narratives.

At once dark and luminous, Cudahy’s paintings often possess a phosphorescent quality, as though lit from within. Through layered textures, delicate marks and shifting passages of colour, the artist creates atmospheric scenes in which the handling of paint becomes integral to the narrative.

Images: Anthony Cudahy, Between storms, 2026. Photo by Nicholas DuPont

Anthony Cudahy Frieze

Hales London Finissage | Saturday 17 October 2026🔗Link in bio to learn more.‘Staging Resistance: Tessa Boffin, Rotimi Fa...
16/10/2026

Hales London Finissage | Saturday 17 October 2026

🔗Link in bio to learn more.

‘Staging Resistance: Tessa Boffin, Rotimi Fani-Kayode and Sunil Gupta in 1980s London’

Opening Hours: 11am – 4pm
Finissage: 12 – 2pm

Join us at Hales London on Saturday 17 October to celebrate the final day of Staging Resistance with artist Sunil Gupta.

Staging Resistance brings together three distinct bodies of work created against the cultural and political backdrop of 1980s UK: an environment largely shaped by the AIDS crisis and the introduction of Section 28 (1988), a controversial law that prohibited local authorities from “promoting homosexuality”. Showcasing Sunil Gupta’s “Pretended” Family Relationships, Rotimi Fani-Kayode’s Bodies of Experience and Tessa Boffin’s Angelic Rebels: Le****ns and Safer S*x, the show considers photography not as a neutral record but as a means of constructing q***r identities, intimacies and communities.

Sunil Gupta will also be signing copies of his new publication, ‘I call you my love’, during the finissage.

Image 1: Sunil Gupta in his London Studio, 2 March 2020, Photo by James Proctor
Image 2, 3 & 4: Installation view, Staging Resistance, Tessa Boffin, Rotimi Fani-Kayode and Sunil Gupta in 1980s London at Hales London, 10 September - 17 October 2026. Photo by Damian Griffiths

Sunil Gupta

Artwork Spotlight | Frieze Masters | Kay WalkingStick, ‘Equinox’, 1983Booth D1914 - 18 October 2026Regent’s Park🔗Link in...
15/10/2026

Artwork Spotlight | Frieze Masters | Kay WalkingStick, ‘Equinox’, 1983

Booth D19
14 - 18 October 2026
Regent’s Park

🔗Link in bio to learn more.

For the 2026 edition of Frieze Masters, Hales is proud to exhibit a solo presentation of 1970s to 1980s abstractions by celebrated American artist Kay WalkingStick (b. 1935 Syracuse, NY).

Drawing on her study of Native tipi structures and the shapes created by their drapes, WalkingStick situated her compositions within geometric forms and grids. Working directly with her hands, she imbued the paintings with a sensuality and expressive gesture by progressively building thick, richly coloured impasto surfaces through layers of acrylic and wax medium. The addition of wax, in her words, “gave the manmade acrylic a warm, natural look” [Kay WalkingStick, 2015]. Through this accumulation of material and the depth of the canvases themselves, the paintings became muscular, sculptural objects, which WalkingStick incised with a woodcutter’s tool to reveal vibrant layers of colour beneath.

The arc shape seen throughout WalkingStick’s paintings and drawings from this period, seemingly suspended on and within the surface, became a recurring motif she would explore with progressive complexity and rigour. In ‘Equinox’ (1983), WalkingStick cut into the surface to reveal semicircular forms and gridded lines, allowing earlier layers of vibrant colour to emerge.

Images: Kay WalkingStick, Equinox, 1983. Photo by JSP Art Photography

Frieze

Artwork Spotlight | Frieze London | Haroun Hayward, ‘Blue Clouds (303 Sunset)’, 2026.Oil, oil stick, and gesso on wood p...
14/10/2026

Artwork Spotlight | Frieze London | Haroun Hayward, ‘Blue Clouds (303 Sunset)’, 2026.

Oil, oil stick, and gesso on wood panel,123.6 x 93.8 x 5.5 cm

Booth A24
14 - 18 October 2026
Regent’s Park

🔗Link in bio to learn more.

Hayward’s paintings are a celebration of hybridity, harmoniously converging art historical and musical references with distinct modes of making. The paintings honor what informs Hayward’s personal and artistic narrative - rave culture, abstract expressionism, post war British landscape painting and his mother’s textile collection. Repetition and remixing, to borrow from music terminology, are key to the artist’s painting process. Hayward likens the variation of forms in his paintings to the practice of sampling in electronic music.

In ‘Blue Clouds (303 Sunset)’, the top section draws on Wilhelmina Barns-Graham’s celebrated ‘Glacier’ series, reworking her geometric language of intersecting forms and colour. In the bottom left, Hayward reimagines Félix Vallotton’s ‘Coucher de soleil, nuages bleus’ (‘Sunset, Blue Clouds’), 1918, while the central grid takes inspiration from Indian ta***ic painting.

The richly textured oil-stick relief references a Kufic-style Urdu graphic design from a 1950s poetry journal, incorporating a floral pattern inspired by a 19th-century Indian woodblock-printed textile. The work’s title also honours ‘303 Sunset’, a 1991 track by Detroit techno group Galaxy 2 Galaxy, part of Underground Resistance.

Through this interplay of painting, pattern and music, Hayward creates a visual rhythm in which disparate histories and cultural references come together in harmony.

Images: Haroun Hayward, ‘Blue Clouds (303 Sunset)’, 2026. Photo by Andrew Judd

Haroun Hayward Frieze

Opening Today | Hales at Frieze London 2026Booth A2414 – 18 October 2026Regent’s Park, London🔗Learn more about our prese...
14/10/2026

Opening Today | Hales at Frieze London 2026

Booth A24
14 – 18 October 2026
Regent’s Park, London

🔗Learn more about our presentation through the link in our bio

Wilhelmina Barns-Graham
Martyn Cross
Anthony Cudahy
Shezad Dawood
Ally Fallon
Chitra Ganesh
Carole Gibbons
Sunil Gupta
Haroun Hayward
Ken Kiff
Hew Locke
Kay WalkingStick

Images: Installation view, Hales at Frieze London, Booth A24, 14 – 18 October 2026. Photo by Damian Griffiths

Frieze Wilhelmina Barns-Graham Trust Anthony Cudahy Ally Fallon Chitra Ganesh Carolegibbons Sunil Gupta Haroun Hayward .kiff_estate

Opening Today | Kay WalkingStick at Frieze MastersBooth D1014 – 18 October 2026Regent’s Park, London, UK🔗Learn more abou...
14/10/2026

Opening Today | Kay WalkingStick at Frieze Masters

Booth D10
14 – 18 October 2026
Regent’s Park, London, UK

🔗Learn more about our presentation through the link in our bio

For the 2026 edition of Frieze Masters, Hales is proud to exhibit a solo presentation of 1970s to 1980s abstractions by celebrated American artist Kay WalkingStick (b. 1935 Syracuse, NY), marking her first solo project in the United Kingdom and following her inclusion in the 60th Venice Biennale in 2024. A citizen of the Cherokee Nation of Oklahoma, WalkingStick’s solo exhibition, Kay WalkingStick / Hudson River School, originating at The New York Historical, is currently touring the United States.

Images: Installation view, Hales at Frieze Masters | Kay WalkingStick, Booth D10, 14 – 18 October 2026. Photo by Damian Griffiths

Frieze

Artwork Spotlight | Frieze London | Shezad Dawood, Asteraceae, 2026Booth A2414 - 18 October 2026Regent’s Park🔗Link in bi...
13/10/2026

Artwork Spotlight | Frieze London | Shezad Dawood, Asteraceae, 2026

Booth A24
14 - 18 October 2026
Regent’s Park

🔗Link in bio to learn more.

In ‘Asteraceae’ (2026), Shezad Dawood draws on his ongoing exploration of the relationship between the natural world, geometric forms and emerging technologies. Inspired by Edo-period Japanese art, Indian ta***ic painting and the history of weaving, Dawood creates compositions in which organic forms and geometric structures coexist.

Textiles and pattern are central to both the artist’s process and visual language. As Jessica Cerasi writes in the monograph accompanying Dawood’s exhibition ‘Skin of Dreams’, his fascination with the richly patterned ralli textiles of Pakistan dates back to his childhood in Karachi. Traditionally hand-stitched from fabric offcuts and used in domestic settings, these textiles become active components of Dawood’s paintings, their colours, patterns and textures informing his interventions and introducing an element of unpredictability into the compositions.

By bringing together the intricate patterns of woven textiles and botanical imagery, Dawood draws parallels between the structures of the natural world and the digital systems of modern technology, reflecting his interest in the loom as a precursor to computing.

Images: Shezad Dawood, Asteraceae, 2026. Photo by Damian Griffiths

Frieze

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