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11/10/2026

I had the honour of curating and leading a conversation with Dries Criel at Timothy Taylor Gallery, exploring the intersection of art, craftsmanship and jewellery.

I had the honour of curating and leading a conversation with Dries Criel at Timothy Taylor Gallery, exploring the intersection of art, craftsmanship and jewellery.

From ballet to fine jewellery, ancient Egypt to contemporary architecture. I particularly loved hearing how his early years as a dancer continue to inform the movement and geometry of his designs, and how his fascination with Egyptian symbolism finds its way into such contemporary pieces.

We spoke about the importance of preserving traditional techniques, and what makes an object worth keeping for generations. As an artist, I find the relationship between the hand, the material and the idea endlessly fascinating.

Thank you, Dries, for such an engaging and generous conversation, and to Timothy Taylor for hosting us so beautifully.

Dries Criel
DRIES CRIEL Jewelry

📸 Masha Mel 💕

10/10/2026

My work From.Between.To. is currently on view at the Irish Museum of Modern Art, Dublin, as part of the extraordinary exhibition Technologies of Peace: Art and Transition in Contemporary Europe (1989–2026).

Bringing together 59 artists from 17 countries, the exhibition considers peace not simply as the absence of war, but as something fragile, complex and continually negotiated.

As an artist whose practice is deeply rooted in histories of conflict, political repression and collective memory, I find this question particularly resonant. How do we live with the past, and what does it take to imagine a different future?

At a time when so much of the world is once again defined by conflict, it feels especially important to give peace the same critical attention we give to war.

Thank you to the wonderful team at IMMA for bringing together such a thoughtful and timely exhibition.

On view until 9 May 2027.

Installation photography by Ros Kavanagh, courtesy of IMMA.

IMMA
Galerija VARTAI

the Roberts Institute of Art

09/10/2026

An evening at home with dear friends, celebrating and his remarkable world of jewellery. A beautiful meeting of art, craftsmanship and imagination, and a reminder that the most interesting conversations often happen around a dinner table.

Thank you, Dries, for bringing your world into ours.

23/09/2026

We are excited to welcome Ariane Hughes and her work ‘Highway and Strip Malls’ (2026) to our collection .

Ariane Hughes is a British-Australian artist based in London. Her surrealistic paintings transform familiar narratives into unusual and exaggerated scenes, using anachronistic objects, distortions of scale and unexpected uses of colour to create worlds that invite active looking and contemplation. Drawing on the aesthetics and history of Surrealism, Hughes explores the interplay between the real and unreal, while reflecting on the function of images and social media.

In ‘Highway and Strip Malls’ (2026), Hughes brings this distinctive visual language to a dreamlike composition, where a face emerges through muted tones, creating an unsettling tension between the familiar and the surreal.

Tristan H***e

20/09/2026

So much for learning to say no.
What a week!
London. Impossible to resist.

18/09/2026

My London little black book for — sharing some of the places, artists and things I love about this city. 🤎

11/09/2026

150 mph, 2014–2015, Automotive paint on board,
230 × 180 cm

On the 25th anniversary of September 11, I’m revisiting my work 150 mph, which considers how architecture can hold trauma and become an unintentional memorial.

For this series, I made 11 paintings in response to the architecture of the Twin Towers and the way their simple, repeated vertical lines have become inseparable from the memory of what happened there. The title refers to the approximate terminal velocity reached by those who fell from the towers.

Rather than depicting the event itself, I chose to focus on the architecture—the vertical lines and the spaces between them. The work asks what it means to look beyond the falling bodies to the architecture behind them. Can abstraction offer a way of confronting an image too traumatic to represent directly? How do we remember without turning tragedy into spectacle?

Twenty-five years later, questions of memory, trauma and the responsibility of representation remain central to how I think about this work.

In remembrance of all those who lost their lives on September 11, 2001, and all those whose lives were forever changed.

07/09/2026

We are happy to be lending Cindy Sherman’s Untitled #466 (2008) from to ‘Mirrors: Reflecting on Identity’ at Falmouth Art Gallery.

Appearances can be deceiving, but they can also be a powerful and authentic expression of our true selves. We all construct our own identities, often navigating a push and pull between our inner truths and the expectations of the outside world.

The exhibition explores how artists use self-expression to question roles, challenge norms and reveal the shifting nature of the self.

📆 Until 26 September 2026

📸 Courtesy of Artist, Sprüth Magers and DACS, 2026

the Roberts Institute of Art

Falmouth Art Gallery Sprueth Magers

#

02/09/2026

We’re delighted that works from our collection at the Roberts Institute of Art are included in ‘Victory Over the Sun: Encounters with Light’ at The Light Durham, the inaugural exhibition at Durham’s exciting new cultural institution.

Works from by David Shrigley, Iván Navarro, Spencer Finch and Shezad Dawood are shown alongside artists exploring light as both a material and a subject, and its ability to transform space, perception and experience.

📆 22 August 2026 – 17 January 2027

the Roberts Institute of Art

30/08/2026

We’re incredibly proud to see ‘Wait Another Week’ (2024) by Rosalind Nashashibi, from our , included in the artist’s major solo exhibition ‘Get Me A Stone’ at Artium Museoa, Museum of Contemporary Art of the Basque Country.

Bringing together paintings made between 2021 and 2026 alongside the new film ‘Occupation of The Inner Life’ (2026), ‘Get Me A Stone’ reflects Nashashibi’s emotional and political engagement with the current situation in Gaza. Through painting and film, the exhibition explores themes of exile, resistance and historical memory, considering how art can respond to violence while creating space for reflection, care and acts of symbolic repair.

📆 Until 1 November 2026

📸 AdriánRuizHierro|erredehierro

Courtesy of The Museum of Contemporary Art of the Basque Country, Artium Museoa.

the Roberts Institute of Art

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6 Fitzroy Square
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W1T 5DX

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