OHSH Projects, Peckham Rye (2026)

18/06/2026

Introducing the 𝑪𝑶𝑵𝑻𝑹𝑶𝑳 artists: new to OHSH Projects: David Blandy

David Blandy (b. 1976) is an artist based in Brighton whose work explores global structures of control and networks of resistance across ecology, history, science and cultures of play.

Working across video, games, sound and ephemera, he deconstructs cultural forms and reassembles them to reveal hidden narratives and alternative ways of understanding the world. Blandy has exhibited widely in the UK and internationally, with solo exhibitions at Towner Gallery, Eastbourne; John Hansard Gallery, Southampton; Künstlerhaus Stuttgart, Germany and Focal Point Gallery, Southend-on-Sea. His work has also been shown at Tate Modern, London; Serpentine Gallery, London; Kiasma Museum of Contemporary Art, Helsinki, Finland and MoMA PS1, New York, USA.

Represented by Seventeen Gallery, London / Films distributed by LUX, London.

𝑪𝑶𝑵𝑻𝑹𝑶𝑳, opening Wednesday 8 July (6pm-9pm),brings together fifteen artists to explore the video game as a vital and expanding cultural medium, tracing the line between design and art and asking at what point a rendered world, a crafted character, or a system of rules transcends its origins to become something more.

The exhibition will draw on a lineage that stretches from Suzanne Treister’s pioneering fictional game stills of the early 1990s to the present, celebrating the creative precision and philosophical ambition alive in the worlds games build, and the emotions they, sometimes unexpectedly, make real.

𝑪𝑶𝑵𝑻𝑹𝑶𝑳
8 July - 1 August 2026
Open Thursday - Saturday, 12:00 - 17:00
PECKHAM OASIS, UNIT 4,
DOVEDALE BUSINESS CENTRE, LONDON, SE15 4QN

17/06/2026

Introducing the 𝑪𝑶𝑵𝑻𝑹𝑶𝑳 artists: new to OHSH Projects: Chaney Diao

Diao is an artist whose work examines how bodies are made legible through skin, dress, and space. Working across installation, sculpture, sound, live practice, game environments, and fashion, she approaches bodily experience as something socially and spatially produced rather than given. Driven by lived discomfort and often unfolding through aesthetics of extremity, pressure, and pain, her work moves between public space, subcultural environments, domestic interiors, and speculative worlds.

In 2025, Chaney was selected as an awardee of the third edition of LOEWE FOUNDATION/Studio Voltaire award. Selected exhibitions and performances include Knotted Timelines, Seager Gallery, London (2025), FAN の BLOG 迷妹の部屋, Asymmetry Art Foundation, London (2024), How to Destroy Angels (curated by Tai Shani & Anne Duffau), Horse Hospital, London (2024), Acal Festival 3 (curated by Studio/Chapple and SON OF CRAFT), Staffordshire St Gallery, London (2023), if splash has your whistle, IKLECTIK, London, (2023) and Kaugummi im Motherboard, gr_und Gallery, Berlin, (2024).

Images 1-4: Back of House and Front of House, Piccalilli Gallery, London, until 11th July.
Images 5-12: Past works by Chaney Diao, courtesy the artist.
Image 13: Portrait of the artist.

𝑪𝑶𝑵𝑻𝑹𝑶𝑳, opening Wednesday 8 July (6pm-9pm),brings together fifteen artists to explore the video game as a vital and expanding cultural medium, tracing the line between design and art and asking at what point a rendered world, a crafted character, or a system of rules transcends its origins to become something more.

The exhibition will draw on a lineage that stretches from Suzanne Treister’s pioneering fictional game stills of the early 1990s to the present, celebrating the creative precision and philosophical ambition alive in the worlds games build, and the emotions they, sometimes unexpectedly, make real.

𝑪𝑶𝑵𝑻𝑹𝑶𝑳
8 July - 1 August 2026
Open Thursday - Saturday, 12:00 - 17:00
PECKHAM OASIS, UNIT 4,
DOVEDALE BUSINESS CENTRE, LONDON, SE15 4QN

16/06/2026

𝑪𝑶𝑵𝑻𝑹𝑶𝑳, opening Wednesday 8 July (6pm-9pm),brings together fifteen artists to explore the video game as a vital and expanding cultural medium, tracing the line between design and art and asking at what point a rendered world, a crafted character, or a system of rules transcends its origins to become something more.

The exhibition will draw on a lineage that stretches from Suzanne Treister’s pioneering fictional game stills of the early 1990s to the present, celebrating the creative precision and philosophical ambition alive in the worlds games build, and the emotions they, sometimes unexpectedly, make real.

David Blandy David BlandyCharlie Chesterman Charlie Chesterman Chaney Diao Chaney DiaoJack Evans Jack EvansHenry Glover Henry GloverKevin Judge KevinJacob Kasar Jacob KasarEva & Franco Mattes Eva & Franco MattesMiroslav Pomichal Miroslav PomichalPaul Riedmueller 𝓟𝓪𝓾𝓵 𝓡𝓲𝓮𝓭𝓶𝓾𝓮𝓵𝓵𝓮𝓻Petra Szeman Petra Szemán Suzanne Treister Amy J Wilson Amy J WilsonXinhan Yu XinHan Yú Mathew Zefeldt MATHEW ZEFELDT

𝑪𝑶𝑵𝑻𝑹𝑶𝑳
8 July - 1 August 2026
Open Thursday - Saturday, 12:00 - 17:00
PECKHAM OASIS, UNIT 4,
DOVEDALE BUSINESS CENTRE, LONDON, SE15 4QN

15/06/2026

𝙾𝙷𝚂𝙷 𝙴𝙻𝚂𝙴𝚆𝙷𝙴𝚁𝙴
Today we are sharing Dominic Watson’s solo exhibition ‘Vinegar & Piss’, at The Sunday Painter, London, until 11th July. We have exhibited Watson’s work in the group exhibitions such as ‘POISON’ (2023) and ‘PELT’ (2026). We were delighted to see two of the sculptures exhibited in ‘PELT’ making up part of Watson’s solo exhibition at The Sunday Painter.

For his debut at The Sunday Painter, Watson presents a large-scale sculptural installation centred around a galleon constructed from reclaimed wooden children’s playhouses. Installed in the basement gallery, the ship resembles an archaeological discovery, its structure at once fantastical and fragile.

The galleon stands as a portrait of contemporary England: a nation adrift, run aground, and in decline. Its crew, depicted through fragmented figurative sculptures crafted from clay, wax, polystyrene, and papier-mâché, have descended into chaos and madness, mirroring political infighting and social unrest. The exhibition takes its title from the expression ‘full of p**s and vinegar’ – meaning to be full of youthful energy and combative spirit – but now reflecting something sourer: a nation whose belligerence has curdled, its vigour long spent.

The galleon is conceived as a single body: sculptures are built directly into the ship’s structure, growing out of its timbers organically. Limbs and figures emerge from pools of water gathered in the vessel’s recesses, responding directly to its architecture and converging on one another in a state of adolescent rebellion.

Presiding over the bow is a female figurehead, carved from foam and coated in wax. Breast pumps are affixed to her figure, with silicone tubes snaking into the hull and feeding mouths that protrude through holes in the ship’s sides – the nation’s symbolic mother, drained dry.

27 May - 11 July 2026
The Sunday Painter
117-119 South Lambeth Road, London, SW8 1XA
Wednesday – Saturday 12.00 – 18.00 during exhibition dates or by appointment.
General enquiries: [email protected]

14/06/2026

𝙾𝙷𝚂𝙷 𝙴𝙻𝚂𝙴𝚆𝙷𝙴𝚁𝙴
Today we are sharing Guy Haddon Grant’s solo exhibition ‘Fata Morgana’, at Niso Gallery, London, until 17th July. We have exhibited Haddon Grant’s work in group exhibitions such as ‘BURIED’ (2024), ‘RUNES’ (2026) and ‘POST-POST WAR’ (2023).

The exhibition’s title refers to the optical mirage known as ‘fata morgana’, suggesting a condition in which the perceived image remains unstable - appearing, shifting, and never fully settling. In his second solo exhibition with the gallery, Haddon Grant presents a new body of work including drawings, vitrines, and studio panels.

Haddon Grant’s practice explores the conditions under which an image comes into being. Although his work begins with recognizable elements - heads, hands, feet, organic structures, or sculptural motifs— he leads them into situations where representation loses its stability and comes to be constructed through material, optical, and perceptual relationships. The drawings constitute an initial matrix in which images appear as a series of constantly shifting events. Their consistent framing and format establish a common structure while allowing the meaning of each image to remain unresolved. The elements depicted emerge while remaining partially fluid, forming part of a still unstable typological vocabulary. These typologies operate as fields in which forms repeat, shift, and transform.

The title of the exhibition is a line taken from the poem Upon The Burning of Our House (1666) by Anne Bradstreet which the poet wrote describing the loss and grief of Bradshaw’s house burning down. Beirne pulls references from historical and contemporary sources for her titling, paying homage to folk tales, nursery rhymes and fiction whilst imbuing the works with a narrative which, by design, never feels fully finished.

15th May — 17th July 2026
Wednesday - Saturday 11:00 - 18:00
110 New Cavendish Street, London, W1W 6XR
[email protected]

13/06/2026

𝙾𝙷𝚂𝙷 𝙴𝙻𝚂𝙴𝚆𝙷𝙴𝚁𝙴
Today we are sharing Dien Berziga’s solo exhibition ‘Cuccurucucù’, at Tache London, until 26th June. We exhibited Berziga’s work in ‘South Open 3’ (2025).

Curated by Ana Teles, the exhibition consists of thirteen new paintings, several made specifically to respond to the gallery’s structural features. The exhibition space has been transformed into a playground, in which Berziga’s paintings are arranged as a sequence of discoveries, encountered one by one as the viewer moves through the rooms. A puppet theatre, a swing, canvases hung near the ceiling, others tucked into corners, or placed low along the dado rail. Works appear above, below, and to the side, following a rhythmic movement through the space. The installation guides the viewer through a series of surprises, asking them to look, to look again, to look differently, to slow down and look carefully – a game prepared by Berziga who welcomes viewers into his painterly world.

Cuccurucucù is a word that belongs to Berziga’s own imagery, one that transports him to Parma, to a time that has passed but that carries on, as his paintings do, into the present. The word “cuccurucucù” is something between a song and a game, being the call of a bird and the
tick of a clock. In Italian, “cucù” belongs to the language of childhood, the word you say to a child when you cover your face and reappear (a game of hiding and revealing, of something disappearing and returning). Cuccurucucù is a “portal into a strange but comfortable world, full
of things that carry no direct meaning [...] close to the experience of looking at Berziga’s paintings.” – Catherine Li.

Dien Berziga: Cuccurucucù
22 May - 26 June 2026
33 Percy Street, London W1T 2DF
Exhibition opening hours:
Tuesday–Friday 11am–6pm
Saturday 12pm–4pm
[email protected]

11/06/2026

𝙾𝙷𝚂𝙷 𝙴𝙻𝚂𝙴𝚆𝙷𝙴𝚁𝙴
Today we are sharing Izzie Bierne’s solo exhibition ‘By The Ruins I Often Pass’, at Blackburn Museum and Art Gallery, until 16th June. We exhibited Beirne’s work in ‘South Open 2’ (2024).

This new body of work sees Beirne working across a range of scales for her oil paintings, incorporating sections of quiet alongside the visually clamorous. Within the paintings are moments of everyday softness – a painted sunset through a fogged window in Out of the Window She Popped Her Head or a hazy bathroom sink.

These moments are captured with care and a naive adoration. Contrasting are pieces permeated with a sense of entrapment and voyeurism – a butterfly trapped in a mouldy window in Fly Away Home or the silhouette of a girl walking away from the viewer in Leave Them Alone and They’ll Come Home.

The most overtly menacing work made by Beirne is the hero image The House No Longer Represented Anything Good – pictured is a house on fire encased by night, bringing into question the home as a place of safety, sanctity and sacrilege. The symbolic is ever present in Beirne’s works, conjuring a unique blend of myth, universality of feeling and the everyday.

The title of the exhibition is a line taken from the poem Upon The Burning of Our House (1666) by Anne Bradstreet which the poet wrote describing the loss and grief of Bradshaw’s house burning down. Beirne pulls references from historical and contemporary sources for her titling, paying homage to folk tales, nursery rhymes and fiction whilst imbuing the works with a narrative which, by design, never feels fully finished.

30th May — 16th June 2026
Tuesday to Saturday, 11am – 4.45pm
Blackburn Museum & Art Gallery, Museum Street, Blackburn, BB1 7AJ

10/06/2026

𝙾𝙷𝚂𝙷 𝙴𝙻𝚂𝙴𝚆𝙷𝙴𝚁𝙴
Today we are sharing MODERN PROBLEMS’, a group exhibition co-curated by OHSH exhibitor David Copper and OHSH Gallery Assistant Alessandro Morter at Gallery Hole, Suffolk, until 14th June. Including OHSH exhibitors Annie Edwards, Guy Haddon Grant, Judy Maxwell-McNicol, Benjamin Orlow, and Mathew Weir.

We love William Sharp’s description of the exhibition (who has also been an OHSH Gallery Assistant):

Echoed by Daniel Ruffles’ gripping sound piece, in response to AI’s 78 (alleged) problems of contemporary reality, MODERN PROBLEMS sits within this unsettled complicitness as to how abnormal reality has become. Full of harrowing depictions of how self-identity is measured, remediated and translated, David Cooper’s curation serves as a reminder to us all as to how our day-by-day existence is shaped by our last.

Using sleep as timeless methodology, it is a state where we are our most vulnerable. Once locked into REM, the body is paralysed, one which Alessandro Morter calls a “condition of surrender.” Ruminating all the nooks and crannies of an unconscious flow of free-thought, our darkest and most revealing histories become visible the morning after, without even being conscious of it.

MODERN PROBLEMS holds onto this incentive through the details of its artists works: Judy Maxwell-McNicol invites us to wash our filthy mouths out; Mathew Weir’s flirts with memento mori; Jane K Morter drags us into the abyss; whilst Renata Adela’s pillow remains cool on both sides.

Amongst these many fleeting moments, all 20 works exhibited slip into worlds that speak to the unnerving truths, lived experiences and consequences of human action we wish were just a dream.

Unit 4, Station works
Darsham Station, Main Road
Suffolk, IP17 3PL
By appointment only: [email protected]

09/06/2026

𝙾𝙷𝚂𝙷 𝙴𝙻𝚂𝙴𝚆𝙷𝙴𝚁𝙴
Today we are sharing Helena Samarasinghe’s solo exhibition Reaching, Touching, Shedding at Camberwell Space, London, until 17 July 2026. We exhibited Helena’s work in ‘WORKOUT’ (2025).

Helena Samarasinghe, winner of the Vanguard Prize 2024, and alumna of BA Drawing at Camberwell College of Arts (2024) presents an exhibition bringing together drawings and cut-outs developed during the artist’s studio residency. The works explore sport, power, integrity and belonging. Large - and small-scale works, created with oil, soft pastels and charcoal, are layered and mark-driven, tracing embodied connection, movement and resilience. Wall-based works and free-standing drawings are arranged throughout the gallery, creating a field in which bodies - both depicted and present - meet, collide and negotiate as viewers move through the space.

For the artist, the immediacy of drawing parallels the act of playing sport: mark-making becomes a form of unscored choreography, where gesture and pressure register the body in motion. The physicality of the medium foregrounds touch, speed and exertion; dense colour and repeated contact with the paper surface render the image as an index of embodied experience.  Helena’s interest lies less in elite competition than in the grassroots experience of sport and the feeling of it. For the artist, playing becomes a way of reckoning with one’s own limits, building resilience and a quiet confidence through physical challenge alongside others, rather than pursuing spectacle, personal bests, or the commodified culture that often surrounds professional sport.

The Vanguard Prize supports emerging artists and strengthens Vanguard Court’s strong links with Camberwell College of Arts. Since 2010, it has supported recent graduates to develop their practice and careers through a year’s free studio residency and mentoring, culminating in an exhibition at the College.

Reaching, Touching, Shedding | Helena Samarasinghe
15 May – 17 July 2026
Camberwell Space
University of the Arts London, Camberwell College of Arts
45-65 Peckham Road London SE5 8UF
Open Thursday - Saturday (11am - 4pm)

06/06/2026

𝙾𝙷𝚂𝙷 𝙴𝙻𝚂𝙴𝚆𝙷𝙴𝚁𝙴
Today we are sharing Boo Saville’s exhibition GENTLE at Bo Lee Gallery, Bruton, Somerset until 13 June 2026. We exhibited Saville’s work in ‘VESSEL’ (2024) and ‘PELT’ (2026).

GENTLE, a solo exhibition by Boo Saville, brings together a group of paintings depicting men and boys. Working from fragmented and digitally sourced images, Saville paints figures that seem to sit between strength and vulnerability, closeness and distance, and what is visible and what is hidden.

Echoing the moral unease of The Picture of Dorian Gray, these portraits appear suspended between surface and truth; their identities are mediated through the distortions of online culture and the so-called “manosphere”.

Through blurred forms and glitch-like painterly gestures, the works resist clarity, inviting viewers to look through uncertainty toward what lies beneath. Moments of tenderness, grief, care and isolation sit uneasily alongside ideals of control, performance, and self-mastery. Rather than offering resolution, the paintings hold these tensions in place, asking how masculinity is shaped by community, expectation, and the pressures of visibility. Drawing on ideas of compassion and love articulated by thinkers such as James Baldwin and bell hooks, the exhibition invites us to consider what is hidden, suppressed, or denied within contemporary male identity.Image: Dave Watts Courtesy of Bo Lee Gallery.

GENTLE | Boo Saville
2 May 2026 – 13 June 2026
Bo Lee Gallery
West End, Bruton, BA10 0BH
+(0) 44 7970 492 858
[email protected]
Wednesday - Saturday, 10am - 5pm (or by appointment).

OHSH Projects

18/06/2026

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16/06/2026

15/06/2026

14/06/2026

13/06/2026

11/06/2026

10/06/2026

09/06/2026

06/06/2026

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