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12/10/2026

CURATOR’S TALK — Nastia Svarevska & Ema Ogawa Todd of Thin Red Lion

‘the knot on the hook in the fish in the lake’

What does it mean to make work in relation to and reliance on something and someone else?

Curator Nastia Svarevska and Ema Ogawa Todd, representing the Thin Red Lion collective, talk us through the knot on the hook in the fish in the lake at Hypha Gallery South Bank. They discuss bringing together a body of work by a collective, what the relationship between a curator and a self-organizing collective is, and how collaboration can produce a stronger body of work.

Thin Red Lion began as conversations in the pub between ten artists, most of whom make work alongside other jobs, and grew into a network of shared criticism, borrowed materials and shared responsibility. The exhibition brings that spirit into the gallery: somewhere ideas, objects and visitors can slowly reveal the stories, conversations, and practices of those choosing to commune and exchange knowledge to grow and challenge their ways of working.

See available works from the exhibition on Hypha Curates via the link in bio. Every purchase supports artists and helps Hypha Studios provide free studio and exhibition space.

Payment plans are available. For enquiries or help choosing a work, contact [email protected].

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11/10/2026

CURATOR’S PICK | ‘Folds’ by Sam Shaw
A tarpaulin is left outdoors under an overhanging willow, gathering marks from soil, plants, animals and birds across the seasons. It is then worked with oil paint, folded and creased until its grid recalls an old paper Ordnance Survey map. These folds are echoed in three dimensions with a stack of feed sacks sitting on the floor nearby. The nails holding the tarpaulin to the wall are sealed in wax set with wildflower heads – treading the line between fragile and industrial, soft and solid. ‘Folds’ is an artwork which plays with scale, folding the landscape away, asking us to read the land as a record of all that co-exists within it - humans, animals, plans, climate, and progress.

One of ten sculptors exhibiting as part of ‘hylē: a language without words’, curated by Anya Mokhova , Sam treats the land itself as raw material and co-author, letting it leave its own traces rather than simply depicting it.

Folds is on view at Hypha Gallery South Bank, Gallery 2, 42 Southwark Bridge Road. Private view: Monday 12 October, 6–9PM. For more information or to arrange a private tour, please get in touch.

Images courtesy of the artist.

Sam Shaw. ‘Folds’. Oil on tarpaulin, paper, iron, wax, preserved wildflower fragments, soil pigment, moss pigment. 280 x 320 cm (sack pile 40 x 40 cm). £6,500 inc. VAT.

Payment plans available for featured artwork. For further enquiries, get in touch with [email protected].

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08/10/2026

ARTIST TO WATCH | Angelos Kotzias

24/7 looks into the dynamic of labour and rest between human and machine. It pairs kinetic works - always running no matter who is watching - with static works about apparatus, altered states and the body. What is striking about Angelos' work particularly is how well he captures our consumerist habits; how a drive for productivity is causing mass waste and disrepair, just to 'develop' or replace capable, beautiful machines, including the bodies we have.

'Rotative Wheel', for example, hangs on the wall, a wheel turned by a small motor, its mechanism borrowed from the windmills of rural landscapes. Taken out of the field and into a gallery in Bankside, it keeps turning with nothing to grind or pump. That's one of the pleasures of Angelos' practice and this exhibition — the works carry on their labour around the clock, questioning what function is and how effort is valued in a rapidly accelerating society. And, importantly, who is this 'progress' for if most don't have access to it?

24/7, curated by Angelos Kotzias and Lucy Ellis , opens 8 October at Hypha Gallery South Bank / The Atrium, 42 Southwark Bridge Road.

Private view: Monday 12 October, 6–9pm.
Message us for an invitation or to arrange a private tour.

Featured artwork:
'Rotative Wheel' (2026)
Mixed media kinetic sculpture
35 x 18 x 7 cm. £650 inc. VAT

Payment plans available for featured artwork. For further enquiries, get in touch with [email protected].

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07/10/2026

CURATOR'S PICK | Untitled (Biofouling I & II) by Louise Frances Smith

In Untitled (Biofouling I & II), Louise Frances Smith starts with "waste" oyster shells from Angela's, a seafood restaurant in Margate, and turns them into a biomaterial that sits on porcelain trays in a closed display case. Over the run of the show, the sculptures will soak up water and slowly sweat and degrade. The piece questions how we interact with natural habitats, the nature around us, its ephemerality, and fragility. The piece itself has a lifecycle of its own, though recreated with stable conditions and materials for collectors, it could as easily become soil fertilizer if placed in a garden.

One of 35 members and fellows of the Royal Society of Sculptors exhibiting as part of 'ASSEMBLY', curated by Alexandra Carr MRSS and Alex Breeze, Louise brings into question material experimentation and our (dis)unity with ecology, memory and landscape.

See Biofouling I & II at Hypha Gallery South Bank, Gallery 3, 42 Southwark Bridge Road, from 8 October.

Private view: Monday 12 October, 6–9PM. For more information or to arrange a private tour, please get in touch.

Louise Frances Smith.
'Untitled (Biofouling I&II)'
Oystershell biomaterial, chalk ink, cotton scrim, porcelain, display case.
130 x 80 x 42 cm.
£2,400 inc. VAT.

Payment plans available for featured artwork. For further enquiries, get in touch with [email protected].

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OPINION | SPOILED PROPAGANDA: grafting bio-futurismMost of us grew up learning that rot means failure. Fruit goes off, y...
06/10/2026

OPINION | SPOILED PROPAGANDA: grafting bio-futurism

Most of us grew up learning that rot means failure. Fruit goes off, you throw it away. SPOILED PROPAGANDA refuses to treat decay as the end of the story.

PHYEIN Collective .collective have brought together artists, biodesigners and researchers who work with the things we usually discard or try to control. Chao-Chun Kung's 'Orbit' takes something we throw away every morning, used coffee grounds, and 3D-prints it into a lantern that glows warm and translucent when lit. Weixi Kuang and Junpeng Liang's 'Bactereature' goes a bit further. Using a custom-built bio-printer, they turn the microbes that live on and in us into a series of objects whose colours and forms are shaped by those microbial communities. Together, they make the case that what we leave behind, whether it's our coffee or our bacteria, can become material for something new. They also raise a harder question: where do we draw the line when we start designing with life itself? The artworks aren't glossy green utopias but living proposals that insist on rethinking the lifecycles of objects and products.

The exhibition is a fantastic inquiry into how we've been conditioned to think about food, waste, material, and produce. If we stopped accepting the story we've been fed, what would we start making instead?

SPOILED PROPAGANDA opens 8 October at Hypha HQ, Unit 3, Euston Tower, 286 Euston Road, NW1 3DP, and runs until 7 November (Thursday–Saturday, 12–6pm).

Private view: Wednesday 14 October, 6–9pm. Message us for an invitation or to arrange a private tour.

Images courtesy of the artists.

Chao-Chun Kung (CHAO-CHUN KUNG)
'ORBIT' (2026)
3D-printed bio-composite PLA made with recycled coffee grounds, LED light.
Large: 60 x 60 × 200 cm £10,000 inc. VAT.
Medium: 60 x 60 × 90 cm £5,500 inc. VAT.

Weixi Kuang (Weixi Kuang）
'Bactereature' (2024)
Microbial pigments, ceramic.
35 x 35 x 35 cm.
£950 inc. VAT.

Payment plans available for featured artwork. For further enquiries, get in touch with [email protected].

05/10/2026

CURATOR’S TALK — Nicholas Stavri
Make Do / Make Space

How do you choose artworks for a building with so much character of its own?

Nicholas Stavri talks us through his approach to Make Do / Make Space at Hypha Gallery South Bank — discovering artists through an open call, considering how their works would sit within the building, and looking for materials with a history.

Reclaimed objects carry traces of their previous lives. Nick’s interest lies in what artists see in them, and what they turn them into.

See available works from the exhibition on Hypha Curates via the link in bio. Every purchase supports artists and helps Hypha Studios provide free studio and exhibition space.

Payment plans are available. For enquiries or help choosing a work, contact [email protected].



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CURATOR’S PICK | Black on Black by Stella Arion Stella Arion The title hylē originally meant timber waiting to be worked...
02/10/2026

CURATOR’S PICK | Black on Black by Stella Arion Stella Arion

The title hylē originally meant timber waiting to be worked. Anya Mokhova ( Anya Mokhova) has brought ten sculptors together around that idea of material as a vessel which remembers, preserves traces and actions, and which evolves, like language.

Black on Black is particularly concerned with the relationship between organic movement and pressure. It isn’t just a material chosen to carry an idea. The way it behaves is part of the work itself. Made out of clay, a fragile material, it is arrested in a moment of compression, resisting collapse and preserving the extent of the materials resilience.

The exhibition is arranged by material connections, and it will be particularly interesting to see how materials are tested and pushed to contain, preserve, and maintain their process.

See it at Hypha Gallery South Bank, Gallery 2, 42 Southwark Bridge Road, from 8 October. Private view: Monday 12 October, 6–9pm. Message us for an invitation or a private tour with me.

Images courtesy of the artist.

Stella Arion. 'Black on Black' (2025). Black clay, industrial glazes. 13 x 26 x 43 cm. £3,200 inc. VAT.

Payment plans available for featured artwork. For further enquiries, get in touch with [email protected].

ARTIST TO WATCH | Peter HanmerASSEMBLY brings 35 members and fellows of the Royal Society of Sculptors from its first pr...
01/10/2026

ARTIST TO WATCH | Peter Hanmer

ASSEMBLY brings 35 members and fellows of the Royal Society of Sculptors from its first presentation in Sunderland into a very different space at South Bank. What struck me is Peter’s on-the-nose political parody, a 3D rendition of editorial cartoons, somewhat of a lost art. Its intricacy and deeply figurative nature leave you with no room to doubt, allowing the viewer to think through the uncomfortable realities of our society,

Look closely at ‘Keep Your `Distance’: it sits on a shelf, its own microcosm, with a scene of masked figures with top hats playing some form of dysfunctional cricket, unfolding without regard to its surroundings. And how does this scene change based on the architecture and space it is in? That’s one of the pleasures of this work and the exhibition — sculpture isn’t just an object to walk around; it can change the way you experience a space.

ASSEMBLY, curated by Alexandra Carr and Alex Breeze, opens 8 October at Hypha Gallery South Bank, Gallery 3, 42 Southwark Bridge Road. Private view: Monday 12 October, 6–9pm. Message us for an invitation or to arrange a private tour.

Images courtesy of the artist.

Featured artwork:
‘Keep Your Distance’ (2021).
Resin, milliput, wood, metal, acrylic.
60 x 118 x 23 cm. £4,480 inc. VAT.

Payment plans available for featured artwork. For further enquiries, get in touch with [email protected].

OPINION | the knot on the hook in the fish in the lakeA rope only works when it’s tied to something. An arch stands beca...
30/09/2026

OPINION | the knot on the hook in the fish in the lake

A rope only works when it’s tied to something. An arch stands because its stones push against one another. I like that Thin Red Lion have made an exhibition out of that idea: an artwork exists of many elements working together, beyond just material.

The collective began in pub conversations about the realities of making art in London. Many of its artists also have other jobs; they share criticism, materials and space. That isn’t background information to this show. It’s part of how I want to look at ‘Untitled (Daiki)’, by Marine One, and ‘In Common’ by Sid Smith. ‘Untitled (Daiki)’ looks into how bureaucratic and social pressure shapes and conforms a generation into a unified workforce identity. ‘In Common’ uses a fairly common, recognisable bureaucratic object - a BT phone, mass produced and regulated - but somehow sanctifies a common cultural memory, turning feelings of dread into a certain nostalgia. Both are worth examining as monuments to our ‘progress’ and what our rapid acceleration means for the experience of labour and togetherness.

‘the knot on the hook in the fish in the lake’, curated by Nastia Svarevska, opens 8 October at Hypha Gallery South Bank, Gallery 1, 42 Southwark Bridge Road. The private view is Monday 12 October, 6–9pm. Message us for an invitation or to arrange a private tour.

Images courtesy of the artists.

Sid Smith. ‘In common’ (2026). BT Viscount phones. 30 x 40 x 8 cm. £200 inc. VAT.

Marine One ‘Untitled (Daiki)’ (2026). Acrylic paint on canvas, fabric, nails, metal, plastic, beads, fluorescent light fitting, LED light and cables. 200 × 140 × 80 cm. £3200 inc. VAT

Payment plans available for featured artwork. For further enquiries, get in touch with [email protected].

EXHIBITION TO SEEThis is the last week to see ‘Yesterday Was November 18, Tomorrow Will Be Too’, curated by sensaflare_呈...
29/09/2026

EXHIBITION TO SEE

This is the last week to see ‘Yesterday Was November 18, Tomorrow Will Be Too’, curated by sensaflare_呈燃 at Hypha Gallery HQ Euston. The exhibition is on until October 3rd, and features a wide range of interdisciplinary works.

We’ve selected 3 available works from the exhibition that are worth a closer look. Across print, sculpture and installation, repetition is taken as a way to examine memory, perception, the body and place and their perception in a single suspended point in time.

Featuring:

Ivan Ko. ‘What Did The Hare Hear II’ (2026). PLA, synthetic fibres, resin, packing blanket. 15 × 45 × 23 cm.
£7,500 inc. VAT

Miki Takekawa. ‘Beneath The Leaves IV’ (2025). Monoprint on paper. 17.8 x 12.7 cm.
£350 inc. VAT

Lotte Johnson. ‘Held’ (2026). Oil on canvas. 25 x 50 cm.
£850 inc. VAT

See more available works from the exhibition on Hypha Curates via the 🔗 in bio.

Payment plans are available. For further enquiries or help choosing a work, contact [email protected].

Images courtesy of the artists.
Lotte Johnson artwork install shot by Carlo Zambon.

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