Easter regularly brings exhibitions exploring themes drawn from Christianity; this year is no exception. For the April 2025 Diary, I highlight exhibitions that include work from Mainie Jellett, Evie Hone, Francis Hoyland, Nic Fiddian-Green, Gert Swart, and Stanley Spencer. I also highlight exhibitions exploring aspects of mythology that feature work by Tunga, Sidney Nolan and Anselm Keifer, and exhibitions on social action including the latest Human Atlas exhibition by Marcus Lyon and a fundraiser for War Child. I finish up with two exhibitions on the theme of colour in art: Richard Kenton Webb’s Manifesto of Painting and Colour at the Royal Pavilion in Brighton.
Evie Hone and Mainie Jellett were pioneering modern artists, who played a key role in the introduction of international modernism, and abstraction in particular, to an often-suspicious audience in 20th-century Ireland. Their exploration of religious themes won more acceptance for the genre than might otherwise have been found. Albert Gleizes, a prominent figure in the Cubist movement, had a significant influence on both Jellett and Hone. Both drew inspiration from Christian themes and their own spiritual beliefs, particularly after Gleizes’ increasing influence on their religious beliefs. Jellett’s Christian faith, always important to her, appeared significantly in her work. Hone has been described as having two great loves in her life: God and art. She spent time in an Anglican Convent in 1925 and converted to Catholicism in 1937. Her stained-glass windows display her knowledge of European religious art traditions and her modernist skills.
The National Gallery of Ireland is spotlighting their careers through ‘Evie Hone and Mainie Jellett: The Art of Friendship’, an exhibition dedicated to their friendship and artistic exchange. Their achievement as pioneering female artists practising modernism whilst tackling religious themes was immense. Bringing approximately 90 of their works together, the exhibition tracks their careers, from the period they shared in Paris to their late work back home in Ireland. The show also addresses the significance of their friendship and individual personalities, the personal and professional challenges they faced, together with their work across different media, and their significant artistic legacies. The early convergences and subsequent divergences in their art, as they developed their singular styles and expertise, are also explored.
The shared experiences and lives of these two artists are quite remarkable. Both hailed from Dublin, with Hone born in Roebuck Grove, County Dublin, and Jellett at Fitzwilliam Square, in Dublin’s city centre. Though the women met while working and studying under Walter Sickert at the Westminster Technical Institute in London, it was their shared experience in Paris in the early 1920s as students of André Lhote and Gleizes that cemented their friendship.
The exhibition reveals how both women were hugely important trailblazers in the canon of Irish art yet remained connected to what might be considered relatively orthodox subjects and artistic traditions, such as religious themes and landscape painting. Dr Caroline Campbell, Director of the National Gallery of Ireland, says: “They played a leading role in bringing modernist art to Ireland in the 1920s. At that time, they were vilified by some, partly it seems because they were women. This show is a rare chance to explore their transformative contributions to modernism as a whole and their impact on Irish art, and I hope it enables Hone and Jellett to be better known in Ireland and abroad.”
While Jellett’s premature death in 1944 halted the evolution of her art, she left a body of work that had already revealed distinct shifts in tone, form, and subject matter. Added to this, her writings echoed an inclination to articulate the thoughts she shared with earlier Modernists throughout Europe and the United States. Hone, by contrast, was both an artisan and an artist who found an ideal avenue for her preferred aesthetic in stained glass design, a discipline in which she excelled. Her productive membership of the Dublin-based stained-glass workshop An Túr Gloine and the outstanding quality of her work in that medium is a testament to the importance of this part of her practice. Her most important works include the large-scale East Window depicting the ‘Crucifixion’ for the Chapel at Eton College in Windsor and her exceptional stained-glass window, ‘My Four Green Fields’, now located in Dublin’s Government Buildings.
The exhibition features preparatory drawings, cartoons, paintings and glass panels across a range of media, including watercolour, gouache, oil and stained glass. The exhibition also features examples by French artists Gleizes, Lhote, and Georges Rouault, whose influence played a significant role in the development of both Hone and Jellett’s work. By presenting the artistic journeys of Jellett and Hone side by side, visitors can discover both the shared and unique elements that defined their remarkable careers.
Stained glass: Resurrection, c.1954
© Geraldine Hone, Kate Hone and the FNCI. Photo © National Gallery of Ireland
The exhibition has been co-curated by Dr Brendan Rooney, Head Curator at the National Gallery of Ireland, and Niamh MacNally, Curator of the Prints & Drawings Study Room. They note: “On account of their friendship, similar backgrounds and early comparable practice, Hone and Jellett are often spoken of in inseparable terms. Through some 90 works in different media, this absorbing and insightful exhibition will provide visitors with an opportunity to not only consider what connected these immensely gifted figures, but what set them apart from one another.”
Francis Hoyland is exhibiting 87 oil paintings on ‘The Life of Christ’ at Chappel Gallery, near Colchester. A painter, printmaker, teacher, writer and art critic, Hoyland has had teaching posts at the Royal West of England Art School, Chelsea School of Art, and Camberwell School of Art. He has taken part in radio and television broadcasts, was art critic for ‘The Listener’ during the 1960’s and has written three books, including ‘Alive To Paint’, published by Oxford University Press in 1967. He has works in numerous public and private collections; including the Methodist Art Collection.
A suite of 91 etchings, ‘The Life of Christ’, is in the British Museum and Yale University USA. On receiving the etchings into the British Museum’s Print Room, Anthony Griffiths, Head of Prints and Drawings, wrote: “It is a most extraordinary and impressive achievement, and we are very glad to have it in the department as one of the major monuments of British printmaking in recent times”. Each print had a religiously inspired meditation on the subject and an account of something that had recently happened to Hoyland. In this way, he hoped to show some relation between interior meditation and everyday events.
Of the current exhibition, Hoyland says: “During the last five years I have made many drawings and paintings, both in gouache and acrylic. Maybe I have been attempting to integrate the demands of intellect and feeling. At the back of my mind, there has always been the hope that I could paint large pictures – like those I saw in Italy that tell stories and decorate churches – recently, I have been producing them.”
Nic Fiddian-Green lives on the Wintershall Estate, where ‘The Nativity’ and ‘The Life of Christ’ are performed, and for which he has created several of the Stations of the Cross pieces. His exhibition ‘The Face of Christ’ is a deeply personal and spiritually resonant exhibition featuring 20 new sculptures that testify to the artist’s ability to transcend the physical through art.
In this latest series, Fiddian-Green, internationally celebrated for his monumental equine sculptures, turns his focus inward, exploring the enduring power of faith, suffering and redemption. Informed by his own encounter with several life-threatening illnesses, his honest creative re-assessment offers a stronger, deeper and more contemplative vision that permeates the new work with stillness and reflection. ‘The Face of Christ’ offers a profoundly meditative engagement with the image of Christ, capturing a sense of serenity, resilience, and transcendence in bronze and stone.
Born in Hampshire in 1963, Fiddian-Green graduated from Wimbledon School of Art after a three-year degree in Sculpture. Engrossed in the horse as a subject and working in marble, he was greatly moved by the power, skill and beauty of the Parthenon frieze and the horse as depicted by the Ancient Greeks, in particular the remarkable “Selene” horse at the British Museum. His career has been a dedicated pilgrimage in terms of style, technique, vision and philosophy. Working first in the Mediterranean, he has had his studio at Wintershall for the last thirty years.
Throughout his career, he has worked with the weight and resistance of materials – bronze, lead, and marble – transforming them into forms that defy their own substance. Under his direction, the gallery will be darkened for this exhibition, and the work will be lit with candles, an invitation for contemplation and quiet reverence. The centrepiece of the exhibition – a life-size Crucifixion – is his most moving and finely executed work to date. Christ’s face leads the viewer to engage and be transported, both spiritually and physically.
He says: “These works are a reflection of my journey of faith. I have come to find that His power to elevate us underpins everything I strive to do and The Face of Christ is an attempt for me to convey in my work all that He conveys in my heart. Christ gives me the key, but will I open the door…?” Fiddian-Green’s work invites audiences to explore sacred themes through a modern lens. Whether viewed as an expression of faith, an exploration of the human condition or a study of sculptural excellence, ‘The Face of Christ’ stands as one of the most significant bodies of work in his career.
Gert Swart’s exhibition ‘Towards Easter Sunday 2025: Who am I?’ is an impressive, thought-provoking display of sculptures that reflect the intense deliberation of the sculptor himself on an age-old question: ‘Who am I?’ His sculptures seem to ask questions of the viewer, beckoning them in and stimulating conversation. An exhibition of recent sculptures — a few have an older legacy but have been adapted subsequently – is laid out like a labyrinth of sculptural portals visitors are invited to navigate. The hope is that it will be a participatory space in which they will feel both challenged and encouraged.
The dominant theme for this exhibition of sculptural thresholds and their portals was born out of his 1997 ‘Contemplation: A Body of Work by Gert Swart’ exhibition, also held at the Tatham Art Gallery. Jorella Andrews writes that the exhibition and its works can “be thought of as a forest of strange signs to be interpreted, not necessarily at an immediately conceptual level, but certainly in a way that calls for bodily, intuitive, emotional, and symbolic modes of sense-making”. Swart has a mysterious and compelling engagement with key symbols: chairs, propellors, trees, boats, the abacus, oars, horns, hands, and cruciform shapes. He describes his ‘Propellor Cruciform’ as being the exhibition’s central piece, the one in relation to which all the other pieces are orientated.
An important idea for Swart is that of “Scenius” as developed by the musician and thinker Brian Eno. In his words, “Scenius” is “the intelligence of a whole operation or group of people”, which he thinks is “a more useful way to think about culture”. Eno continues: “Let’s forget the idea of ‘genius’ for a little while, let’s think about the whole ecology of ideas that give rise to good new thoughts and good new work.” Swart sees the exhibition as interactive: “a space in which you are likely to get lost. But as you find yourself drawn to a particular portal and as you begin to engage with it, the idea is that you will begin to find yourself in some way. Perhaps you will re-find a dimension of yourself that was somehow mislaid.”
In the foreword of the ‘Contemplation’ catalogue, Brendan Bell wrote that: “Gert Swart is a man of great intensity. He is intensely dedicated, intensely private, intensely religious, and intensely creative. This exhibition is the result of over twenty years of intense self-discipline in concentrating on the production of sculpture rather than the promotion of self. Working in relative isolation from the mainstream, often under trying financial circumstances, it has always been the integrity of the artist that has won through …”
The Stanley Spencer Gallery’s summer exhibition ‘That Marvellous Atmosphere: Stanley Spencer and Cookham Regatta’, delves into Spencer’s last, great painting, ‘Christ Preaching at Cookham Regatta’. Painted in 1952-9, this huge but sadly unfinished work is exhibited alongside 28 related works. Included are paintings and drawings from this flourishing time in Spencer’s artistic career and major loans from Tate and National Museums Liverpool.
This enormous and ambitious painting was Spencer’s main focus for the last ten years of his life. Drawing on his childhood memories of Cookham Regatta and its Grand Evening Concert, ‘Christ Preaching at Cookham Regatta’ imagines Christ preaching from the old Horse Ferry Barge to the listening revellers in their finery. Spencer was so excited by his overflowing ideas for the painting that he frequently stayed up into the small hours, making hundreds of preparatory drawings. In characteristic fashion, he turned his childhood memories of the golden era of Cookham Regatta into an event of great spiritual significance. Spencer explained, “Everything to do with love is meant in this Regatta scene. In that marvellous atmosphere, nothing can go wrong.” He intended it to express his own unique vision of God’s love for the world, as he understood it through his own love for Cookham.
The unfinished state of the painting gives us a rare insight into his working methods, so the exhibition displays’ Christ Preaching at Cookham Regatta’ alongside his working materials, preparatory studies and related paintings that enable exploration of the context, creation and meaning of his visionary final painting. On loan from Tate is ‘Dinner on the Hotel Lawn’, one of seven paintings in the associated Regatta series that Spencer exhibited and sold while he was working on the main painting. The loans of Edward Gregory’s oil study for ‘Boulter’s Lock, Sunday Afternoon’ from National Museums Liverpool, Hector Caffieri’s ‘Going to Cookham Lock’ from a private collection, and historic Cookham Regatta memorabilia bring to life the golden age of boating on the river Thames.
Born Antônio José de Barros Carvalho e Mello Mourão in Palmares, Brazil, Tunga was a visionary artist whose work explored art, mythology and alchemy. Raised in a family of creatives and activists exiled to Chile during Brazil’s military dictatorship, he later earned a degree in architecture before embarking on a groundbreaking artistic career that spanned complex sculptures, immersive installations and performances. His distinctive vision was informed by psychoanalysis, surrealism and Brazil’s rich cultural heritage and folklore.
His current works at the Lisson Gallery offer an overview of his practice, with ten sculptures from 2004 to 2014, which is a decade of bold experimentation. The exhibition highlights his use of unconventional materials, from hair and teeth to copper and rubber, materials deeply tied to Brazil’s industrial and colonial histories. Many works explore the body’s physicality through anatomical references and the suggestion of human intervention, most notably in the exhibition’s centrepiece: a large-scale hanging installation inspired by the mechanics of a marionette.
Internationally recognised as one of the most important Brazilian artists of his generation, the exhibition marks the first time Tunga’s work has been shown in London since 2018 when Tate Modern staged one of his legendary performances, ‘Xifópagas Capilares Entre Nós’ (Capillary Xiphopagus Among Us). Acclaimed primarily for his precisely constructed sculptures informed by alchemy and mythology, Tunga drew attention to the psychological potential of three-dimensional objects, which he first started to produce in the 1970s using materials such as iron chains, nylon mesh, lamps and rubber. Creating a unique vision inspired by psychoanalysis, philosophy and alchemy, he embraced a multifaceted practice spanning the various mediums of contemporary art. Tunga’s legacy endures globally, with his work held in esteemed collections, including the Peggy Guggenheim Collection in Venice, the Tate in London, the Pompidou in Paris and MoMA in New York. In 2005, he made history as the first contemporary artist to exhibit at the Louvre in Paris, underscoring his impact and innovation.
The exhibition highlights ten sculptures spanning the years 2004 to 2014 — a pivotal period during which Tunga continued to experiment with increasingly diverse materials such as bottles, crystals, portals, teeth and tripods. While the artist’s earlier compositions often consisted of one or two elements, such as a braid made from wire or felt joined together with cotton cord and nails, these later works reveal Tunga’s propensity for producing more corporeal forms that incorporate multiple components and which balance density with ephemerality.
In 1962, Sidney Nolan travelled through Tanzania, Uganda and Ethiopia. On this journey through East Africa, the artist studied lions, elephants and giraffes in the Serengeti and arduously tracked mountain gorillas in the Congo. He met ethnic tribal groups and watched labourers toiling in the fields before arriving in the ancient city of Harar, once the home of his childhood hero, French surrealist poet Arthur Rimbaud.
However, the paintings inspired by this journey are far more than representations of exotic animals, people and landscapes. His January 1962 Auschwitz experience loomed large, and in Africa, he associated the wanton slaughter of wildlife, destruction of habitat and geopolitical power struggles with Europe’s recent genocide. The ‘African Journey’ paintings tackle themes of conflict, animal extinction and the impact of colonialism. Nolan’s ‘African Journey’ exhibition was once famous but is now practically forgotten. It was privately viewed by Queen Elizabeth II before premiering at London’s Marlborough Galleries in 1963.
The exhibition ‘Nolan’s Africa’ at The Rodd follows the recent publication of a book on the topic of this period in Nolan’s life also entitled ‘Nolan’s Africa’ by researcher and Nolan scholar Andrew Turley. Turley has dedicated the last twelve years to revealing the fascinating backstory to the ‘African Journey’ exhibition by unearthing the unknown histories of the artist’s culturally significant mid-twentieth century works, including Auschwitz, the Adelaide Ladies, and Africa and has worked closely with the Trust to develop and curate the current exhibition.
Turley follows the artist’s journey through Tanzania, Uganda and Ethiopia, coloured by the impact of his journey to Auschwitz and also the formation of the World Wildlife Fund. The book explores in detail the mid-century influences Nolan was absorbing and channelling: the legacies of colonialism, war and conflict, globalisation, and animal extinctions.
From his childhood, Kiefer has had a special connection to the work of Vincent van Gogh and to this day, his admiration for Van Gogh is visibly present in his work. He also has a long, personal history with the Stedelijk Museum Amsterdam. The museum bought and displayed his work from the beginning, giving Kiefer recognition for his art. For the first time in their histories, the Van Gogh Museum and the Stedelijk Museum Amsterdam are joining forces to stage a major exhibition of a contemporary artist. At the Van Gogh Museum, famous paintings by Van Gogh are shown along with works by Kiefer. At the Stedelijk Museum Amsterdam, all the Kiefers from the collection can be seen together for the first time. In addition, especially for ‘Sag mir wo die Blumen sind’, Kiefer has created new works that have never been seen before.
In the late 1960s, Kiefer was one of the first German artists to address the country’s fraught history in monumental, acerbic works for which he sustained intense criticism in his homeland. Later, he would be hailed for breaking the silence surrounding Germany’s past. His work reflects on themes such as history, mythology, philosophy, literature, alchemy, and landscape.
The title of the exhibition, ‘Sag mir wo die Blumen sind’, refers to the anti-war song of the same name by American folk singer and activist Pete Seeger, which later became widely known in a German rendition by Marlene Dietrich. Kiefer’s expansive new installation for the Stedelijk Museum, also called ‘Sag mir wo die Blumen sind’ combines paint and clay with uniforms, dried rose petals and gold, symbolising the cycle of life and death with the human condition and fate of humankind playing a central motif. The flowers of the title are also a reference to the ‘Sunflowers’ by Van Gogh and to recent landscapes by Kiefer, which can be seen for the first time in the exhibition.
‘Alta’ is a social-impact art project that showcases 100 extraordinary individuals creating positive change across Los Angeles County. Each participant is represented through photographic portraits, ancestral DNA, and interviews that reveal how their lives intersect with the region—past, present, and future—creating a legacy work that documents and conserves a deeper narrative for generations to come about the city, its people, and its communities.
Each participant in the project tells some of their stories via an interactive App. Storytelling is a powerful tool for preserving historical perspectives, and can often offer a more nuanced understanding of our complicated past. In a sprawling metropolis like Los Angeles, storytelling can also emerge as a potent tool to bridge divides, cultivating a sense of belonging that can transcend cultural, ethnic, and socio-economic differences.
The exhibition ‘Alta / A Human Atlas of a City of Angels’ by Marcus Lyon seeks to create a deeper narrative about social change in Los Angeles through the portraits, ancestral DNA and oral histories of these 100 changemakers. It reveals how their lives intersect with the city, creating a legacy work that documents and conserves a “human atlas” about the city, its people, and communities.
‘Alta’ is a research-based exploration of social change which holds a mirror up to society and encourages audiences to question their own roles and responsibilities towards their communities, cities, and fellow humans. The four-year project was built on the foundations of a year-long nomination process, where a diverse group of Angelenos nominated individuals from their own communities. Each nominee has made significant contributions to LA and embodies the very best of service to society. The final 100 frames many of the most important narratives about this region of Southern California.
Launched in 2012, Secret 7″ is a charity initiative, now in its ninth edition, that brings art and music together in a unique way. Seven tracks by globally renowned musicians are each pressed onto 100 limited-edition 7″ vinyl records, with creatives from around the world invited to anonymously design the sleeves. The artists range from established names to emerging talents, each interpreting a track in their own style and medium, resulting in 700 unique, collectable sleeve artworks.
The project has worked with tracks from some of the world’s very best music talent, from Paul McCartney to Public Enemy, Aretha Franklin and Bob Dylan to The Chemical Brothers. Some of the greatest living artists and designers, including Ai Weiwei, Yoko Ono, Anish Kapoor and Es Devlin, have created artwork for Secret 7″ sleeves.
This year’s recently announced contributors include Antony Gormley OBE RA, Sir Paul Smith, Yinka Ilori MBE, Haroon Mirza, Rana Begum and Andrew Pierre Hart. Featured musicians include The Cure, Keane, Scissor Sisters, Frank Turner, Gregory Porter, Jessie Ware and Sophie Ellis-Bextor. The sleeve designs are being exhibited at NOW Gallery at Greenwich Peninsula. The artists’ identities remain secret until a final reveal after all items are sold through an online auction. All proceeds will go to War Child.
The new solo exhibition by Richard Kenton Webb at MIRROR in Plymouth features paintings from his series’ A Manifesto of Painting’, which explores the timeless language of colour in painting, highlighting its materiality and emotional power. Richard’s journey, from teaching ‘the practice of colour’ to creating immersive visuals, reflects a deep connection to the physicality of paint: “Painting is slow and counterculture, a refreshing non-electrical, physical activity. Simply put, painting is just mud on canvas, at odds with our instantaneous culture of taking and sharing pictures”.
Focusing on green, this exhibition invites viewers to experience painting as a slow, sensory, and expressive art form. The colour green has been Richard’s colour of focus since arriving in Plymouth in 2020, culminating in this body of work. This response to green is his Manifesto of Painting, a thesis expressed through visual language. As a result, ‘A Manifesto of Painting’ is a show which explores the timeless language of colour in painting: “I believe that painting is a human language that will never disappear. From the dawn of time, materials and our imaginations have fused to create truly remarkable paintings and drawings – visual poetry that communicates a hidden realm.”
Richard aligns himself with the English visionary landscape tradition, drawing inspiration from the works of William Blake, Samuel Palmer, Paul Nash, and Peter Lanyon. As a painter, he weaves his personal biographical narrative into his paintings, channelling the raw energy and power of paint.
As a young teacher during the rise of BritArt in the 1990s, Richard witnessed the absence of any practical approach to teaching colour. He often posed the question, ‘Is colour a language?’ To help artists explore this question, Richard created tools like An Alphabet and A Colour Grammar to offer a structured vocabulary for colour. Each colour in the spectrum, from red to violet, is paired with a corresponding earth pigment, enabling artists to engage with colour as a language and express their ideas through the physicality of paint.
Since 1998, his work has been a continuous exploration of colour. Colour is a tangible material—physical paint—that transforms painting into an immersive, sensory experience. This engagement with the physicality of paint allows alchemy to take place. Through their imagination, artists can translate emotions and memories into visual form. For this reason, Richard makes his own paints and encourages others to do the same.
Brighton’s Royal Pavilion is one of the most unusual buildings of its time – a masterpiece of colour, textures and shades that made it a sensation in the 1820s. ‘COLOUR’ is an exhibition taking over the Pavilion to let visitors experience it in a new way, immersing themselves in new artistic and design interventions through the exterior and interior. The exhibition explores how colour shaped the palace’s extravagant design and celebrates the vibrant hues of the special building. The magic and meaning of colour is celebrated through immersive displays, art installations, and sensory experiences.
Brighton artist Lois O’Hara has transformed the walkway through the Pavilion Gardens into a swirling, multi-coloured rainbow road. She says: “I wanted to create an artwork that feels full of life and something that lifts people’s spirits and draws them into a sense of movement and energy. ‘Pathways of Joy’ is all about stepping into that flow and feeling the colours and shapes come to life around you. Nature is always changing. Its colours shift and blend, and I wanted to capture that same feeling using colour to bring joy and make the space feel truly alive.”
Emma Bestley. Creative Director and Co-Founder of YesColours says: “‘Pathways of Joy’ is a vibrant celebration of the movement and energy of colour, perfectly complementing the bold, expressive spirit of the Royal Pavilion. We’ve helped bring this vibrant vision to life with our sustainable paints – proving colour isn’t just seen but felt. We hope this artwork sparks joy, creativity, and a deeper connection to the beauty around us”.
Inside the Pavilion, light, sound, and colour-themed artworks interplay and interact with the vibrant regency rooms. For example, the Banqueting Room is transformed into a Feast of Colour, with multi-coloured fantasy food and jars of vivid pigment. In the Music Room, rarely seen costumes and objects are displayed amidst an immersive soundtrack that invites visitors to hear colour’. Other rooms present a bespoke hat designed by legendary British milliner Stephen Jones, a paper flower installation by Karen Hsu, and an exquisite ‘Bird of Paradise’ by Zack Mclaughlin.
Speaking about the exhibition, Alexandra Loske, Curator of the Royal Pavilion, says: “Each room is devoted to a specific colour and emotion, featuring carefully curated artistic interventions demonstrating how colour was used to evoke feelings and create enchanting and sensual interiors in the 1820s.” Loske’s doctoral thesis took seven years and explored the intersection of colour theory and architecture, during which she meticulously researched the Pavilion’s use of colour – working closely with conservation experts and gaining unprecedented access to its interiors.
‘Evie Hone and Mainie Jellett: The Art of Friendship’, 10 April – 10 August 2025, National Gallery of Ireland –
‘Francis Hoyland: The Life of Christ’, 5 April – 27 April 2025, Chappel Gallery –
‘The Face of Christ’, 9 April-31 May 2025, Sladmore Gallery, London –
‘Towards Easter Sunday 2025: Who am I?’, 2 March – 27 April 2025, Tatham Art Gallery, Pietermaritzburg –
‘That Marvellous Atmosphere: Stanley Spencer and Cookham Regatta’m3 April – 2 November 2025, The Stanley Spencer G
‘Tunga’, 4 April – 17 May 2025, Lisson Gallery –
‘Nolan’s Africa’, 2 April – 28 June 2025, The Rodd –
‘Anselm Kiefer – Sag mir wo die Blumen sind’, 7 March – 9 June 2025, the Van Gogh Museum and the Stedelijk Museu
‘Alta / A Human Atlas of a City of Angels’, 13 January – 27 April 2025, Los Angeles Central Library –
‘Secret 7″‘, 11 April – 1 June 2025, NOW Gallery, London –
‘A MANIFESTO OF PAINTING – Richard Kenton Webb’, 11 April – 31 May 2025, MIRROR, Arts University Plymouth –
‘Colour’, 21 March – 19 October 2025, Royal Pavilion, Brighton –