Five new works

An exhibition at MM's Litsarda, Crete

Opening 5 September 2023, ongoing


I am the secret meat

Tolia Astakhishvili, Hervé Guibert, Simon Lässig, Nat Marcus, James Richards, Galen and Edwin Riley

Organized by Tolia Astakhishvili as part of curated by 2022
At FELIX GAUDLITZ, Werdertorgasse 4, 1010 Vienna

End Days, At Last!

Galen Riley at 6second Gallery

Main room:
Detangler, 2019-2022, washing line, hook plates, fixings.
Nest 8, 2022, climbing rope, paracord, shoelaces, string, armature wire.
Elevated Underlay, 2022, recycled fibre carpet underlay (in situ since 2007), pin.
Romantic Rope, (Nest 1), 2016, sash cord, rope, chain, wire.
Twit Wip, 2022, waste polychromatic strings, balloon, polymer clay.
Chop Chop, 2020, climbing rope, iron rod.
Multi-D Chit Chat, A Slow Survey, horological debris from 2002-2022, clout nails, copper wire, projection screen ribbon, hat cord, rubber, pipe cleaners, jute, magnet, aluminium wire and tube, staples, 1km yellow thread, various strings and shoelaces, electrical wire, underwire.

Back room:
Extra Time, 2018, shower curtain, magnetic hooks.
Macramé Member, 2009, jute, metal ring, fixing.

This is the final exhibition at Ridley Road, 6second is becoming mobile.
6second was a gallery made available by occasionally and radically repurposing Riley's studio on Ridley Road. These units and the adjacent Ridley Road Market are under threat. The studio space has been given time, out by 1 March, 2022 and the market is fighting for its existence.


’ave a look!


6–21 November

’ave a look! aims to undo the identity of both physical and digital objects. Dunseath and Squires are interested in the human negotiation of objects: gherkins, J-Cloths, frankfurters, insoles and pomegranates. All become ‘part objects’, their identity undermined and their place in the world called into question.

This exhibition presents an exploration of these objects operating in the world of use and consumerism, and through the materiality of sculptural practice. Spatial relationships and a negotiation with representation are highlighted through perceptual tactility and relational aspects which move through the immediate surroundings and the unknown journeys of the digital.

These subject-object encounters are explored through physical and digital mediation within the not-quite-fixed space of 6second Gallery. This 6second unit is at other times a studio. It allows an environment that is changeable, from process to presentation allowing an oscillation of the sculptural object to the quotidian. Adjacent to this space is Ridley Road Market. The title ’ave a look! comes from an oft-used market call to shoppers to observe the many fruit and veg, mobile phone, clothing, household items and textile stalls that jostle for attention.

’ave a look! sits itself in this context and borrows from the possibilities of the display mechanisms used on the market, to open a space between the allure of objects and the instability of perception.

Dunseath and Squires began collaborating with the film As Seen 2020-2021 which was shown online at Skelf. As Seen explores encounters between subject and object, putting into question the identity of objects and the reliability of perception. Concerned with issues of surface, tactility, material and representation, the use of the screen with ‘real’ objects acknowledged differing degrees of realness and physicality. ’ave a look! is an iteration of As Seen, with the complication of exploring the tangible against the virtual and a different proximity or environment.

6second is a gallery made available by occasionally and radically repurposing Riley's studio on Ridley Road. These units and the adjacent Ridley Road Market are under threat. The studio space has been given time, out by 1 March, 2022 and the market is fighting for its existence.


Domestic Adventure

6second during lockdown

VIRAL at Kyle Marks

A virtual exhibition in an online forum

A project inspired by lockdown.
'An inefficient virus kills its host. A clever virus stays with it.' James Lovelock.
Carriers (Dead Bunny)

6second presents Galen Riley

Nest Six

Ceiling work concluded during Lockdown.

12 Days

KMP Advent Calendar

The work of a different artist is revealed each of twelve days.
'Seeing is believing but sometimes the most real things in the world are the things we can't see.' The Polar Express.


6second presents Dallas Seitz

The Quietness of Snow

We are frozen here, trapped in the ice, trying to find the passage. The masts of the Terror now so filled with ice and snow they will no longer be of use. I lay here now with sounds of cracking around me, the breaking of wood and freezing of ice. The tins of food aboard the ship have sickened us and now have clouded our judgement. I see unusual creatures there in the dark nights blizzard and by day the reflection off the pure white blanket of snow so bright my eyes play tricks on me and I spot a small village in the far distance, a possible escape, only to watch it disappear again into the quietness.

Das - Spincycle

Deptford Arts Society at the launderette, Deptford High Street

Pliable ropes



Curated by Sarah Kogan at A.P.T. (Art in Perpetuity Trust)

Having observed a kingfisher near the APT on Deptford Creek, and later encountering Clyde Hopkins's reference to a kingfisher at his recent funeral, this avian's darting and elusive reputation has become the focus of Riley's latest string installation Gangles (Alcedo). The movements of this 'psychedelic' interloper are gestured at by stretched polychromatic paracords; orange, cyan and brown like the bird itself. The contact points or fixings of the paracords are old, recent and new, alluding to a movement through time.
Riley continues to pursue a sense of extra dimensional space with illegitimate constructs. In this space a dismantled body is not necessarily dead.

Excerpt from Deptford Waterfowl Guide, Clyde Hopkins (1946-2018)

Small brightly coloured bird
With sharp beak and tongue
Introduced into UK along with
Psychedelic drugs. Usually seen
Just after it has gone.
Eats fish, chips, mushy peas.

Contributing artists; Wendy Anderson, Neel Bakhle, Jeremy Bubb, Maria Chevska, Richard Dyer, Adam Gray, Sarah Kogan, Enzo Marra, Jane Millar, Galen Riley, Susan Sluglett, Rachel Warriner

Full press release here:

Extra Time

Deptford X Fringe, Enclave 6

A duo exhibition hosted by THIRD TEXT: Galen Riley and Matthew Gould.
Third Text, a journal embracing transnational critical perspectives on contemporary art and culture, here associates with art local to the Deptford office.

SIX SECOND presents

A creak in the stair

22 June - 1 July

Tomoya Matsuzaki and Andrew Miller present an exhibition of works that tell of their own making. They examine the inherent qualities of the objects and pictorial spaces that they create.
The materials, chalky matt plaster or roughly splintered wood; and the gestures, soft hatching or harsh ripping, are not hidden or disguised. They are in themselves descriptions of the work and the act of making. But the material is also a fault line, a restless tectonic that can destabilise the way we look at it.
Matsuzaki and Miller mine at seams of gesture, of thought, of abstraction, of figuration and within them find moments of ambiguity and disruption. It is as though the closer they look, the greater the distance from which the work looks back.
Tomoya Matsuzaki has been selected for the John Moores Painting Prize 2018. Andrew Miller has been selected for V22 Young London 2018.

SIX SECOND presents

The Colourists

8 - 17 June

Cedric Christie, Richard Dyer, Diane McGeachy, Mark C Morley-Smith, Galen Riley and Alexis Teplin

Guest curator Dallas Seitz curates his last exhibition in the UK before returning to Canada. Seitz is a long term London resident, artist and previously co-director of 1000 000mph in Bethnal Green.

'I don't understand colour, I have chromophobia. I wanted to put together a group of artists that do understand colour and its visual power; artists that know how to move colour, shape it into landscapes, figures and objects.'

SIX SECOND presents

David Grandorge

Landscapes of Variable Temperatures
20 - 29 April
David Grandorge has pursued the photography of buildings, cities and landscape since 1996. His photographs are most often characterised by visual austerity and laconic expression. He is concerned with pictorial and compositional precision, but welcomes the intrusion of the imperfect, through the depiction of latent occupancy and the exploitation of technical mishaps.
This exhibition addresses the documentation of landscapes in three regions subjected to continued geo-political pressure - the Baltic States, the Middle East and the Arctic. The variously scaled photographs depict the impacts of resource exploitation and infrastructure on landscape. All of the pictures were recorded with light exposed on to film using a lens whose focal length and field of view corresponds to that of the human eye. The exposures were taken in temperatures from -20º to 5ºC. Some of the pictures seek to dispel the still popular notion of desert landscapes as pristine environments.
Grandorge's work has been published and exhibited internationally, including the Prague Biennale of 2005, the Venice Architecture Biennales of 2008, 2012 and 2014, the Vilnius Art Triennale of 2013 and the Baltic Material Assemblies exhibitions at the AA and RIBA in 2018. He has held solo exhibitions at Rake Visningrom, Trondheim (The World is Still Beautiful) and Peter von Kant, London (Without Sun) in 2013.

SIX SECOND is a not-for-profit experimental art space hosted by Galen Riley

SIX SECOND presents

Guest curator Alice Evans

An Experiment
22 March - 1 April
This exhibition comprises of thirteen contemporary interpretations of the painting An Experiment on a Bird in the Air Pump, Joseph Wright, 1768. A travelling scientist is shown demonstrating the formation of a vacuum by extracting the air from a bell jar containing a white cockatoo. The bird will die if the scientist continues to deprive it of oxygen, and Wright leaves us in doubt as to whether or not the creature will be spared. Here science usurps the more familiar historical and religious subjects as a source of the dramatic in painting of this time.

SIX SECOND is a not-for-profit experimental art space hosted by Galen Riley


Twit Time and Loose Endings

Invited by Richard Ducker to exhibit four sculptures at the coffeeismycupoftea Space in June

Galen Riley continues her concern with the fabrication of environments and objects that articulate the transition between different spaces and states. Here Riley loosely uses the life cycle of the owl as it moves from nest to amorphous omelette. This amoeboid mesh Twit Too: An Owl Omelette is both a pre and post owl. Twit Too: An Owl Omelette refers the gloop we come from and return to.
Riley often deploys a repetitive technique, here chiefly macramé, with its time-counting nature, to evoke the physical presence of the dead and beings of the future. She uses mostly rope and string to gesture at multidimensional diagrams of space in flux. Twit: I'm Not My Usual Self comes from a flat 1970s macramé 'Owl Kit' expanded into three dimensions over a 24" balloon. It grows again when she attempts to blow up a 36" balloon in the complete 24" net.

Work titles from front to rear

Twit: I'm Not My Usual Self
Twit Too: An Owl Omelette
Polychromatic Twits

There's Something in the Long Grass

Ocean View Summer Show 2pm 22/07/17

The Mogridge & O'Donovan Foundation for the Arts present Galen Riley's
sculpture and installation in Tarlton, Gloucestershire.

This exhibition brings together sculpture by Galen Riley spanning nearly twenty years; a semi-retrospective from 1998 to 2017.
Early work Bunny Ear and Claw introduce the use of animal parts to describe human characteristics. Here they act as a duo demonstrating seductive attack modes. Claw has a double posterior adjacent to its sharp claws and the apparently coy Bunny Ear hides itself to position you for attack, acting in a similar way to the serial killer in Don't Look Now. Claw has unrealistic biology and the bunny is all ear, one ear from tip to tip. Riley is not concerned with physical truths or representation.
Equally, Riley's use of flight and flying machines in her sculpture is less about aeroplanes than the urge to pursue flight and impossible movement. Turning Plane (here in maquette form) is the rotation of a Boeing 747 on its axis. It describes an other-dimensional shift, a passenger plane which has moved in a potentially catastrophic way to form a near immaculate object. It appears to be a spinning top, a red toy with the ego of a six year old.
Dog's Body is a ghost dog endlessly chasing its tail. There is no body, its shape is manifest by a lurid green sheet. This is a portrait of her father an horologist forever chasing time.
Armour is a phantom of Riley's past self and another impossible biology. The chainmail (each link made by coiling garden wire) appears to contain a body but the space defined is simply her cross-section, a slice through. This two dimensional shadow still has a belly button on one side and thumbs.
Further corrupting barriers and movement, Spring is a climbing rope sliding horizontally as it cuts through the fence from the car park.
Nest is a looser tangle of ropes going in all directions simultaneously and a pliable home for the Twits. These bunch-of-balloon Twits are the diverse offspring of the drunken owl in the tree. They are future creatures.
Twit: I'm Not My Usual Self is a three-dimensional rendering of a flat 1970s macramé 'Owl Kit'. Originally formed around a 24" balloon the owl is now overfilled with a 36" balloon. This owl eyed creature takes on the aspect of a bloated drunk. The ancient Greeks ate owl eggs as a cure for hangovers so perhaps this cannibalistic and over blown owl will have to eat its own young in the morning. 
Ongoing since 2001 the Bunny Bags populate the garden vulnerably but as a dominant mass, mostly looking at you! You looking at me?

Romantic Rope

Deptford X unofficial fringe

A ground level install of Nest at Third Text, Enclave, Resolution Way, Deptford.


Gregory Williams

17 August
These drawings emit the sense of a scuffle on the surface of the psyche. They are developed through a strategic and evolving approach. This series uses Edmond Van Dooren's dynamic grid, (1896-1965, Antwerp, Belgium). Here it is selected as the system 'allowing most mobility re the passage between spatial dimensions' and also rejecting the convention of perspective. Gregory Williams begins with the isometric grid onto which elements emerge and disperse. Blocks form and rotate, tangled lines appear to shear away from the two dimensional plane. Williams addresses the confinement and predictability of the grid. Chance is engaged through frottage, a conscious nod to Max Ernst. He uses collage and deploys Oscar Dominguez's technique of 'decalcomania' to populate the surface. Williams conjures his subconscious through the strategy of doodling. As habitual processes appear they are questioned. He continually invents procedures through which to continue; rules and counter-rules are introduced as suspicious elements arise. This approach has a basis in Williams's continued and in depth education. He studied philosophy under Catherine Malabou (a student of Derrida) and Eric Alliez (a student of Deleuze). He is currently engaged in a practice-based doctorate, A Theory of Practice: The Value of Surrealist Drawing for A Reassessment of Contemporary Drawing, at the University of Manchester under the tutelage of David Lomas. He has completed an MA in Modern European Philosophy at the Centre for Research in Modern European Philosophy, Kingston University (2013) and an MA in Psychoanalytic Studies at Goldsmiths College (2009). He previously completed a BA in Drawing at Camberwell in 2005.
© Galen Riley

SIX SECOND is a not-for-profit experimental art space hosted by Galen Riley


Rachel Warriner

8 September
In formal terms we have acrylic paintings of semi-abstract motifs suspended above wide horizons and hovering around loosely painted grids or vanishing points. Some are a gesture towards seascapes most often taken from a continued study of the Norfolk Coast, although Warriner is based in London. Details taken from life or found images become duplicated/rotated/intertwined and are repeated in several works. Tracks curve, disappear and begin to resemble horns. An irregular mesh (perhaps a fence) holds the eye at the surface of the painting while light recedes on the horizontal plane. This griddy/organic interplay is continually changing, varied, strange and romantic. Emotive titles return us to some self-consciousness. Alongside complete paintings Warriner will fill the larger wall of the gallery with multiple studies. This continues SIX SECOND’s interest in showing work at the process stage during this series of solo exhibitions. Let us not pretend we know what the larger paintings will be yet. Warriner is such a vigorous and spontaneous being that these works are nowhere near dry.
© Galen Riley

SIX SECOND is a not-for-profit experimental art space hosted by Galen Riley


James Porter

5 October
The elements of this body of work are diverse in language and material. James Porter uses ink, paint, typography, print and structures in a delicate conversation. Most offer the sense of something unobtainable, empty, trapped in time, obsolete or near eternal. Untitled (Viewing) (2011) uses a found image of the suspended carcass of a thylacine with its hunter. It shows an animal expired, apparently extinct since the 1930s – a photograph that can never be retaken. The thylacine was a top predator marsupial resembling a wolf or dog (commonly known as a Tasmanian tiger because of its stripes). A Martian sunset recorded by a robots eye seems to feign melancholia in its subject but is devoid of humanity. Taken by NASA’s Rover (2005) the image emphasises this doubly empty sunset but offers a strange light and an extended twilight where the extra high Martian dust clouds scatter light further into the darkness around the alien planet. Both of these lost moments are rendered as platinum prints, the most durable and subtle of photographic printing techniques, where the inert platinum is embedded in paper. When most carefully processed it is estimated that this kind of print can last for thousands of years before inevitable entropy takes hold. We are also never likely to encounter the creatures referred to in Porter’s Deep Sea Fish Heads (2012 ongoing), as these fish inhabit the deepest regions of the ocean at phenomenally high pressure near the seabed. We will never make physical contact with many of Porter’s creatures or the events he portrays because of their locations in outer space, at the equally inhospitable crushing depths of the sea, or following their extinction or death. Despite subjects being beyond reach, material appears and reappears in altered forms in this work, constantly returning them to a notional present. Statements are also repeated to examine their meaning. Porter rewrites ‘burnt out and lit up’ because of its ‘seemingly contradictory descriptiveness’. He attempts to locate a mental image of something that has always just expired in Burnt out and Lit up (Point of Entry) (2010 ongoing). The Script for Shadows (2010 ongoing) looms above the scattered components of this exhibition. The tripod supports a paper tube with ‘HEYOKA’ written on it in reverse. This literally mimics the behaviour of the Heyoka of the Lakota people from North America. The Heyoka are contrary-tricksters who reverse social norms in order to challenge complacent states. They can appear naked in winter and bizarrely overdressed in the heat of summer. With this philosophical telescope Porter is offering us a look at looking, it is viewed and viewing. Continuing SIX SECOND’s emphasis on work in process for this series of three solo exhibitions, it is not yet certain which elements will appear in Trust BLISS.
© Galen Riley 2017

SIX SECOND is a not-for-profit experimental art space hosted by Galen Riley


Artificial Paradise: A Study of Intoxication.

Ben Fitton, Annis Joslin, Galen Riley, Dallas Seitz and Kenneth Varpe and a paperless poem from Richard Dyer 'Alcohol' on the opening night.

In Intoxication: Life in Pursuit of Artificial Paradise, Doctor Ronald K Siegel posits the drive towards intoxication as the ‘fourth’ drive, after Freud’s three basic human drives. The relationship between art and alcohol is a long and fruitful one, intoxication often leads to inspiration, and the dislocation of the rational mind by drink or other intoxicants and mind-altering substances allows the subconscious content to float freely to the surface. The artists in ‘Artificial Paradise: A Study of Intoxication’ all have intoxication as an overt or covert part of their praxis, inflecting the work through the distorting prism of intoxication.



London Centre for Book Arts

The second instalment of WOT NO with new work by Galen Riley and new text by Sally Fairbrass.

WOT NO will be inviting artists curators, writers, to the first in a series of self curated experiments.
WOT NO is aimed especially for those who use printed matter/publishing/text as an artistic outlet. The participants will be encouraged to explore new curatorial experimentation within the spacial limitations of WOT NO.


Salon of the Collectorexic at The Apartment 5th, A1 Studios, Bow Arts Trust

Exhibiting 'Double Time'

The Apartment is an on-going collaboration between artists working in the A1 Studio block together with their invited guest curators and artists.
For this 5th Apartment evening, guest Dallas Seitz will exhibit and co-curate the work of eight other invited artists along with the residents.

The Apartment core team: Teresa Witz, Paolo Fiorentini, Lynn Carter and I.Carlos.

Guest Artists: Hillary Jack, Nikky Plews, Galen Riley, Jonathan Gent, DnA Factory, Maslen & Mehra, Alex MacGregor and Dallas Seitz.

In the Salon of the Collectorexic
Making connections from objects to objects - playing with groupings, distorting them, reproducing them - is now common in art practice. The intertextuality between objects, images and means of display has become a way to investigate, quote, parody, and relate to art.

This exhibition brings together the work from a range of artists that refer to this intertextuality through objects and painting that speak of collecting, craft-making, furniture building, and notions on foreign curiosities. Pulling from early displays of art works and objects the “Salon” is the basis for this exhibition. Imported, hunted, found, stolen, made, objects and images became the symbol of the wealthy and cultured, this leading to Museums and Galleries being built to house the various private collections. Now these collections have become beacons of historical value, culture and intellect. Looking at these major national Museums and collections the intent of the exhibition is to create a discussion about how contemporary artists have used this in their own practise.


Unknown Sitter DOS at CHARLIE DUTTON GALLERY, London

Exhibiting 'Bone Dry'

This is Part II of Unknown Sitter, curated by Covadonga Valdes. The contributing artists were Virginia Verran, Dallas Seitz, Galen Riley, Damien Meade, Cathy Lomax, Marcus Harvey, Kirsten Glass, David Dipre and Marianne Basualdo.

"This group exhibition combines painting, installation and sculpture to explore various anonymities of the portrait. Playing with ambiguity, these works call into question the meaning of ‘non-identity’ in portraiture that comes about perhaps as the result of a suspicion of its true intention or as a consequence of a disguised or even rootless origin.
Focusing on the tangible and three-dimensional aspects of the portrait as it unfolds towards a disarrangement of its theme, the sitters become subject to question. Habit and recognition fade, at times through the ability of the skill which manipulates or moulds its three dimensional aspect, at other times when the subjects turn inward to perform something imagined or felt, or to view at their own self- reflective narcissism through playful painterly techniques or ghostly installation.
‘The Unknown Sitter DOS’ performs as the disk operating system, excavating body parts to reassemble them as a contemporary portraiture of unflattering and unsentimental figures which participate in the uncanny dislocation of their narratives."

Bunny Hop

CSM College Shop, King's Cross


Not Now, I'm Busy

CSM Window Test



July/August, 120 Deptford High Street SE8

Utrophia's maiden exhibition at their new address. The show includes work by Rachel Warriner, Richard Dyer, Ben Meschko and many others.


June, Tanner's Hill SE8

The final exhibition in the old space.

One Thing Leads to Another

A group exhibition curated by Charlie Hurcombe in Malvern

In this exhibition three new installations demonstrate the artist’s continuing concern with the fabrication of environments and objects which articulate the transition between different spaces and states.

One Thousand Feet ascends the stairway, cutting through three floors. Looped between balustrade and handrail is a knotted mesh of over one thousand feet of rope. The macramé plant holders have escaped the office and gone wild on the stairs.

The half-hidden Spring Cleaner alludes to elevation and escape, the propelling spring being fashioned from Edelweiss climbing rope. Claustrophobic, moribund and erotic implications in this ‘jack-in-the-box’ piece are heightened by the confinement of the ten-foot sprung-spring in a tiny cupboard previously used by the cleaner.

Strangle Room is a quasi-geometrically strung boundary condition otherwise referred to as Knot Now I’m Busy. The room is criss-crossed by an intricate tangle of rope, string and thread. The viewer is denied access to the space by the presence of this self-suspended mass of polychrome lines.


Mortars at Dawn

Carter Presents at Leroy House, London


Hobby Life, with Covadonga Valdes and Sarah Baker

Carter, London

Galen Riley deploys strategies of the hobbyist – macramé, knitting and sewing – and their repetitive, time-counting nature, to evoke the physical presence of her father (an horologist) by constructing body-parts with fragments of his clothing and left belongings. Covadonga Valdes' detailed and intense paintings inhabit both calmness and disquiet. Sarah Baker, formerly a Synchronized Swimmer, often uses the reflection of celebrity to deconstruct narratives and weave stories around obsession, greed and lust.


TOUWORKS 2, Laboratory Polymorphic

Tou Scene, Norway

A collaborative process initially curated by Dallas Seitz(CA/UK) and Kenneth Varpe(NO) who were later invited to participate in the exhibition by the artists selected. The other Artists included were Robert Johansson(SE), Priya Mistry(UK), The Miller and McAfee Press(UK) and Galen Riley.

Emerald City

with Rachel Warriner, Heyday Gallery, London

Well Well

Interlined Gallery, Curtain Road, London


Published in La Journal, 29th February, Museum of Modern Art, Paris


Bunny Bags

Interlined Gallery, Curtain Road, London



Underground Gallery, Manchester

Charming Rope

The Circle House, Brighton

Everything Must Go

VTO, London


Killing Time

Tou Scene, Norway

An eschatological study revolving around a sense of loss and disaster or escape including the artists; Marta Bakst, Semonara Chowdhury, Steven Eastwood, Anna Fasshauer, Annis Joslin, Woodrow Kernohan, Nikki Plews, Galen Riley and Kenneth Varpe.


Little Episodes

Permanent Gallery, Brighton

The Royal Road to the Unconscious

Freud Museum, London

Fuch Luch, For Irma (collected objects from The Interpretation of Dreams)
Dallas Seitz


Sexed Up, War and Peace

Flowers Central, London

Killing Time

Holt, Sherborne

Wood Work

White Cubicle, George and Dragon, London

Killing Time

ZMMA, Underwood Street, London


Telling Stories, Visual Narratives

Barnard House, Bethnal Green, London

Hosted by Marta and Sem.
The first public appearance of Bunny Bags.


Tippi Hedren

VTO, London

With Ben Fitton, Annis Joslin, Kate Grieve, R Nick Evans, Nicole Plews, Dallas Seitz and Mark Hutchinson.

MA Fine Art

Chelsea, London

The House

Chelsea, Bagley's Lane


AHRB Postgraduate Award


if you give me a reason:

I'll give you my work

A solo show at Gallery Pussgurka, hosted by Malen and Sofia
No.7 Unit 7 Long Street, London E2
All the work was for me "suspiciously desirable" and so given away before the opening of the exhibition.


Degree of BA in Fine Art with First Class Honours

Falmouth College of Arts, Cornwall

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