Three artists I have interviewed are opening new exhibitions this month – Márta Jakobovits, Genesis Tramaine and Helaine Blumenfeld. For the May Art Diary, I also include three exhibitions involving gardens – at Gainsborough’s House, Philip Mould and Company, and Waddesdon Manor. I also highlight exhibitions featuring aspects of the mystical or mythological. This includes a group show, ‘Finding My Blue Sky’ at Lisson Gallery. Finally, two exhibitions in church or former church spaces include Martin Creed at Camden Arts Projects.
Following her shared exhibition with Anderson Borba at the Elizabeth Xi Bauer Gallery, Márta Jakobovits is exhibiting at the Liszt Institute in London. This exhibition, titled ‘Just Silence’, is the first in the renewed gallery space at the Liszt Institute. The exhibition presents a comprehensive survey of Jakobovits’ work, offering a rare opportunity to engage with both her celebrated ceramic practice and a broader spectrum of her multidisciplinary oeuvre. Through an expansive selection of works, the exhibition foregrounds Jakobovits’s lifelong exploration of materiality, form, and spiritual inquiry.
At the heart of ‘Just Silence’ lies a conceptual framework centred on silence, not merely as the absence of sound, but as a meditative, existential state. Jacobovits interrogates silence in its many dimensions: spiritual silence and contemplation, and the atmospheric stillness among clouds. The exhibition ponders the ineffable quiet that can be embedded in living itself. These themes are manifested through a nuanced interplay of surfaces, textures, and sculptural volumes, articulated across various media.
She explains, “[My work is] a personal approach to trying to make the invisible of the conscious and subconscious psyche visible through [my chosen] materials. This is an ongoing process; it is very important to me. This is my life. Making shapes, families of shapes, putting them in a relationship with natural materials, such as sand, pebbles, leaves, different plants, barks, and shells, or even bringing them back as a reverence for nature. [It is] an intuitive dialogue between me and what is outside of me.”
As a result, the exhibition encourages viewers to engage in contemplative looking, fostering a space where belief in the miraculous, the improbable, and the dualities within the human condition can be quietly held in balance. ‘Just Silence’ positions Jakobovits’ practice within a broader philosophical and metaphysical discourse, inviting us to believe – in the incredible, in the miraculous nature of life, in the delicate balance of light and dark within us all. Often taking inspiration from the natural world, here, Jakobovits’ works resonate with a kind of inner music, one that asks nothing more than stillness, presence, and the willingness to listen.
Genesis Tramaine is a self-taught “devotional painter” who features the lives of saints in her canvases. She has forged a style that makes her portraits (she only paints portraits) immediately recognisable and openly shares their stylistic lineage: George Condo, Jean-Michel Basquiat, Francis Bacon, etc. For her exhibition ‘Facing Giants’ at the Consortium Museum, she has created fifteen canvases and drawings.
She says the exhibition is: “a collection of my worship works and my service works which are works on canvas and works on paper. This hasn’t been done in some time. I scaled back and scaled in, I’m working on smaller works, I’m working on a smaller canvas space, and the energy in the work is as large as works that may have been seen before. I’ve also delved into new material that I’m happy to expose in these smaller works.”
About her saints, she explains: “I think it’s important that you paint a real narrative, an honest reflection. I don’t think [my saints] look like saints as they have been given to us…[those] were false narratives. The images of saints that we know and that are projected at us are all white with blond hair—and we all know that that is not true.”
Her images: “are biblical saints who have faced giants whether those giants are actual giants or giants like fear, love, acceptance or non-acceptance, the giants of facing God and not being accepted, giants of judgments… those who have sat in the mud, if you would, and found a way to persevere. And I wanted to spend as much time as I could with those energies and those narratives, as a tool of self-encouragement and as a tool of encouragement for others. It’s very important for the narrative of the content that I’m painting to be as strong as the physical painting.
The idea that I’m painting something that I cannot see, that I’m telling you I see, that I can’t prove to you that I’ve seen, other than the evidence of the work… I know that I live in this mystified world, a sort of dream-like state. I live there, and I occupy that space comfortably. I think the idea of coming out of that space with physical matter is incredible but also crazy. I can’t make it make sense. I just have to show the proof or the evidence of the worship work that I’ve been over.
But I think the deeper I go into Genesis, the closer to myself I can get, I can get closer to God.”
Sculptures by Helaine Blumenfeld OBE will be on view in the gardens and interior of Gainsborough’s House over the summer. ‘Helaine Blumenfeld: Tree of Life’ will feature three bronze sculptures in the garden – the first exterior exhibition at the museum in over a decade – as well as a marble in the galleries. Blumenfeld creates sculptures in marble, wood, and bronze meant for public installation. Her work exists in a tantalising zone between abstraction and figuration, creating impossibly thin, undulating structures through innovative techniques.
The display provides a new and unique context to Blumenfeld’s work, surrounded by the walled garden of naturalistic planting and fruit trees associated with Thomas Gainsborough. The exhibition also sees Blumenfeld’s sculptures in dialogue with the poetic sensibility, fluidity of form, and dream-like imagery of Thomas Gainsborough’s art. Both artists have sought to integrate human and botanical forms in their work to express and observe humanity and the natural world. Gainsborough merged figures in his portraits with the landscape behind them, while Blumenfeld fuses organic, figurative and botanical forms in spiritual sculptures.
In the gardens, ‘Tree of Life: Encounter’ depicts a plant-like structure, where three strands are joined together at the base but separate and flower in an upward movement. Originally commissioned by the Woolf Institute with the notion of uniting religions together in peace, the flowering represents hope that is breaching dissonance and chaos. ‘Volare’ and ‘Flight’ both depict movement with a merging of the physical and spiritual. The essence of the human form is depicted in an aspirational reach upwards, towards the sky and a higher realm of being.
Inside the museum is ‘Exodus IV’, a marble work in part inspired by stories of refugee crossings in the Mediterranean. Made up of several layers that could be waves crashing against each other or collapsing life jackets, the weight-less feel and organic shapes demonstrate Blumenfeld’s expertise in using physical materials to communicate spiritual ideas.
Blumenfeld says: “I am thrilled to be showing my sculptures in the splendid gardens and newly renovated visitor facilities of Gainsborough’s House. I have long seen a connection between the spirit inherent in my sculptures and Gainsborough’s luminous and ethereal landscapes, which capture the sublime beauty of the countryside.”
Benton Blue Tit, 1965
Private Collection
A recent exhibition at Gainsborough’s House charted the phenomenal artistic careers of Cedric Morris and Arthur Lett-Haines, and a new exhibition at Philip Mould & Company brings together an exuberant selection of Cedric Morris’ flower paintings that have inspired and informed the reinvigoration of the artist’s historic Suffolk garden over the past two years.
‘Garden to Canvas: Cedric Morris and Benton End’ has been guest-curated by James Horner, Head Gardener at Morris and Lett-Haines’ former home, Benton End. In a fascinating intersection of painting and plant research, some of the works on display have directly helped with the identification and replanting of long-lost varieties, ensuring that Morris’ garden once again blooms with the flowers he originally planted over 50 years ago, fine examples of which are ‘Foxglove’, ‘Flowers in a Portuguese Landscape’, ‘September Diagram’, and ‘Summer Garden Flowers’. The result is a dynamic dialogue between art and living horticulture that helps document the garden’s progress over the last two years.
Benton End – a Grade II listed 16th-century house on the outskirts of Hadleigh – was the home and garden of artist-plantsman Morris and his lifelong partner Arthur Lett-Haines. It was also where they ran the East Anglian School of Painting and Drawing, a place where art, horticulture and community thrived side-by-side. In 2021, Benton End was gifted to the Garden Museum. Over the past two years, under the guidance of Horner, the garden has undergone careful renewal, bringing back many of the historic flowers that bloom on Morris’ canvases. “We are on the cusp of turning Cedric Morris’ walled garden into the flourishing artistic haven it once was,” Horner says proudly.
Opening in conjunction with the RHS Chelsea Flower Show (20-24 May 2025), ‘Garden to Canvas’ anticipates the reopening of Benton End’s Garden to the public in 2026.
Over the Spring Bank Holiday weekend, Yorkshire-based land artist James Brunt will create a brand-new artwork in the gardens of Waddesdon Manor for a festival celebrating art in nature. The public will be able to view Brunt and his team in action as they create a huge Waddesdon Mandala on the South Lawn (below the Parterre) from Saturday, 24 May, to the Bank holiday on Monday, 26 May. Known for his intricate, temporary rearrangements of natural matter, the work follows on from his public artwork known as The Knowsley Mandala, which was completed in Liverpool in 2022.
The word ‘mandala’ comes from Sanskrit and means a ‘circle’ or ‘centre’, and the interconnected swirling patterns have been seen in various artistic cultures around the world. Now, visitors to Waddesdon will have a unique opportunity to see a monumental land-artwork be created. Inspired by this ancient concept, the artwork will be created using diluted water-based pitch marker paint, and the mandala is expected to be seen for at least a month after completion.
The making of the Waddesdon Mandala marks the beginning of a festival of land art this May half term. From Wednesday, 28 May, to Sunday, 1 June, several leading artists who specialise in working with natural materials will be creating further artworks throughout the gardens. Their temporary installations will draw inspiration from Waddesdon’s unique landscape, offering visitors a chance to witness first-hand their creative processes and the beautiful results celebrating the natural world.
Jon Foreman uses materials such as stones, leaves, recycled material and general debris to create miniscule or monumental works. Artist duo Mark and Rebecca Ford draw on techniques of willow craft and woodland management. Richard Shilling creates ephemeral art by photographing his sculptures in ambient light, and environmental artist Tim Pugh creates sculptures using natural materials and decorates trunks and boulders to highlight local flora and fauna. Ana Castilho creates detailed mandalas that are inspired by her Portuguese home environment. Julie Brooklyn creates playful interactive works while running Land Art for Kids, which encourages young people to explore and appreciate creative play in nature.
Visitors will be able to see all the artists at work and will be able to get involved with the creativity themselves. This will include being able to take part in a festival finale artwork on Saturday 31 May. Under the direction of Brunt and his fellow artists, a large new work will be created, drawing on the help of adults and children alike.
‘Drawing Room Invites…’ exhibits solo presentations from three artists who contributed to Drawing Biennial 2024, giving greater insight into their practices and the innovative art being made within the expanded field of drawing today. The artists were co-selected by the Drawing Room team and the local community and this is the first show in a public gallery for each artist.
Alicia Reyes McNamara’s mutating and shapeshifting beings in fantastical landscapes are part of a queering of religious rituals and indigenous folklore, informed by her Mexican and Irish ancestry. Realised in popping coloured pastels on small and large scales, her recent works are informed by Catholic devotional imagery, specifically the Ecstasy of Saint Teresa and the Temptation of Saint Anthony. Blurring the boundaries between the sacred and the earthly, these works are exuberant, expansive interpretations of these traditional subjects, part of the artist’s personal exploration of the spiritual and the ecstatic through the intimate medium of drawing.
Anna Paterson explores experimental processes of image-making on paper, incorporating techniques associated with printmaking, domestic cleaning and painting. She works intuitively, smearing tacky, coated paper with oiled rags before scrubbing and abrading the surface, adding punctures, marks and rubbed textures with a variety of tools and objects to create abstract forms. These works form a diaristic archive of snapshots that ponder how the elements of our urban environment are layered and degraded by natural processes over time.
Amba Sayal-Bennett traces forms, bodies, and knowledge across different sites using migratory logic. Informed by architecture and medicine, she works with computer-aided design software to create digital drawings of decontextualised body parts, which are transformed into smoothly intricate three-dimensional objects in cool, neutral tones. These cut-away, layered works are informed by Western histories of medicine, of controlling and containing the body through schematised illustrations.
Drawing from folk art aesthetics and vernacular architecture, Caspar Heinemann’s first solo institutional exhibition in the UK, at Studio Voltaire, includes a new sculpture commission which comprises a major installation alongside miniaturised assemblages. The installation will suspend a series of sculptures from the ceiling to upend the audience’s viewpoint.
Based in Glasgow, his practice spans sculpture, drawing, text, performance and theatre, engaging with the politics of land, occultism, folk revival and sexual countercultures. His use of provisional materials, including recycled cardboard, wood, textiles and found objects, means he prioritises hand-made constructions and craft aesthetics.
The unifying concept for this new body of work is the word sod. The term has multivalent applications, variously meaning the ground, the soil itself, or a person’s native ground. It can also refer to an unfortunate man, a gay man, a lucky man; used to express something difficult, or feelings of anger. In Biblical Hebrew, sod is an untranslatable word, often interpreted as ‘secret’, but also as meaning a council or circle, and the highest level of mystical interpretation. He will also explore issues of separation and deterrence, testing these ideas in relation to archetypal thresholds and boundaries (e.g. earth/sky/water, life/death). In doing so, he utilises objects commonly used to attract or repel, including creating large-scale sculptures of scarecrows and works made from ‘decoy ducks’.
His is an alchemical approach to making in order to process issues of separation and deterrence. He tests these ideas in relation to archetypal thresholds, evoking dualities such as the elemental boundaries between earth, sky, and water, or life and death. Drawing from the aesthetics of folk art and vernacular architecture, Heinemann explores the interconnectivity of spiritual, political and sexual countercultures.
‘+ Days + Nights’ brings Abraham Kritzman and Philippe Van Snick together in dialogue. Kritzman’s multidisciplinary practice centres on an immersive language expressed through painting, sculpture, and printmaking. Inspired by journeys, his work merges mythical narratives, human imagery, architecture, and landscape to create layered and dynamic compositions Kritzman’s works embody a dance of gestures and delicate details that bridge historical and contemporary themes.
Van Snick employed a rigorous yet poetic visual language, using binary logic, mathematical structures, and rhythms in nature to explore perception, time, and space. At the core of his oeuvre was a decimal system (0–9) paired with a distinctive ten-colour palette—red, yellow, blue, orange, violet, green, white, black, gold, and silver—through which he systematically examined the dualities of day and night, presence and absence, stability and instability. For Van Snick, art was a vehicle to explore the intrinsic instability of systems: chance eclipses orders and emotions outweigh rationality.
In their work, Kritzman and Van Snick make it their mission to explore and express the complex interplay between their life experiences and unique artistic languages. Rather than focusing on a singular investigation, these languages are interwoven throughout their works, forming a continuous thread that evolves over time. Ultimately, both artists challenge viewers to reconsider unseen patterns that shape their worlds and the viewer’s experiences —not as fixed, rigid systems but as fluid, ever-evolving structures that invite constant re-examination.
An exhibition by Japanese artist Ibuki Minami titled ‘Gei-Kaku Ichinyo (Art Core Oneness)’ at the Gallery of Contemporary Art (GOCA) features an entirely new body of works on canvas showcasing Minami’s minimalist compositions, which blend Western and Eastern philosophies to create abstract paintings. Minami explores the origins of artistic thought and expression, crafting pieces that encourage viewers to contemplate the essence of creativity in the digital age.
With Japanese and Korean heritage and an upbringing in the United States, Minami’s works vividly reflect the influence of these three cultures. Rooted in Eastern philosophies such as Zen and yin-yang, as well as Western transcendentalism, Minami continues to reflect on the self and existence in the global context. Through his artistic practice, his works invite viewers to contemplate the fundamental nature of art, as reflected in the title ‘Art Core (芸術の核)’. His life’s mission is “the pursuit, discovery, and complete expression of the core of art within a single work.”
The exhibition features work from three distinct series: ‘Minimalism Torus’, ‘Minimalism Dichotomy’, and ‘Algorithm’. ‘Minimalism Torus’ is a series characterised by the frequent use of torus-shaped circles. The visual expression resembles ensō, a form of Zen calligraphy often used to symbolically represent enlightenment, truth, Buddha-nature, and the universe as a whole. ‘Minimalism Dichotomy’ is distinguished by a pictorial space divided into multiple sections based on the principle of dichotomy, yin and yang, motion and stillness. ‘Algorithm’ features compositions reminiscent of electronic circuits, or spider webs, with layered paint as the final stage of a mathematical yet expressive process.
Dr Omar Kholeif, curator of ‘Finding My Blue Sky’, says: “The show is my love-letter to London, a city that I have continually returned to over the last four decades. It is a journey of retreat and surrender that will be familiar to millions in search of a sense of longing and belonging — of home, of sacred space.”
‘Finding My Blue Sky’ is an exhibition conceived as a constellation, at once epic and polyglot, personal and searchingly political. This group show at Lisson Gallery features over twenty artists from diverse nationalities and eras, including several making their London debut, alongside twelve new commissions. The show elides biographical and cultural differences in overlapping personal narratives: it is, at one level, a self-reflexive statement akin to a diary or memoir, evolving out of Kholeif’s formative interactions and new encounters with artists and his own diasporic heritage (as the son of Egyptian and Sudanese parents). At another, it invites viewers to participate in the creation of meaning – to dream of their own aesthetic politics. Accordingly, the parallel title in Arabic has a distinct inflexion: “What is the World that you Dream of?”
Spanning both London spaces, as well as its courtyards, windows, and adjacent street corners, ‘Finding My Blue Sky’ builds into a chorus of voices and histories. Its starting point was a series of conversations between Kholeif and Lubaina Himid, in which Himid recounted her childhood in 1960s England: daily journeys to school by bus, and the experience of accompanying her mother, a textile designer, to colonial ‘independence’ ceremonies at the embassies of African nations. On the walls outside 27 Bell Street is a set of murals by Himid – emblematic enlargements of her ‘Freedom Kanga’ paintings, inspired by East African kanga garments. In one mural, the phrase “There could be an endless ocean” appears beneath a pair of crimson lungs. This text has an aptly double resonance, channelling the show’s intimation of infinitude – its appeal to visitors’ boundless imaginations – while voicing a darker hypothesis concerning the climate emergency.
As a garment, the kanga begins with a simple piece of fabric, woven with text, that loops and repeats to assume the shape of a body. The exhibition unfolds in a similar fashion to establish formal and thematic patterns, encompassing paintings, drawings, sculptures, and other media. Magda Stawarska presents a multi-panelled piece that ascends up the gallery walls as if to the sky. It is a dreamscape on copper and aluminium. Nearby, the photographic work, ‘Air Conditioning’ by Lawrence Abu Hamdan suggests an expansive Turneresque sky but with political realities lurking inside the picturesque. The paintings and drawings of Huguette Caland, who lived variously in Beirut, Paris and Los Angeles, prefigure Himid’s Kangas through their interplay of corporeal and abstract elements. The centrifugal design of the woodcarving ‘Spiral Rhythm’ by Saloua Raouda Choucair finds a counterpart in ‘Wave Under the Sky’, a new ceramic work by Syrian-Lebanese-American sculptor Simone Fattal depicting a coiled wave.
The exhibition acts as a frame for several artists who remained under-appreciated during their lives, including Luísa Correia Pereira, whose watercolours and paintings sublimated a queer sensibility into hard-edged colour and fluid gesture. Pereira lived in Paris in the 1970s, at the same time as Caland, where both figures explored their interests – reflective of a larger feminist ethos – in deconstructing and transfiguring the body. These pioneering women are seen in dialogue with French artist Laure Prouvost, who also revels in transgressive transformations in her distinctive, playful-heroic register in ‘Becoming You’.
‘Finding My Blue Sky’ is characterised by many such bridging moments –by works of art that contract and conjoin the exhibition’s themes of translation, origin, memory and history (both individual and collective). ‘Soft Ending’, an early work by Sean Scully, stems from a transformative trip to Morocco and reminiscences of fabric dripping from, in and around the town of Tinmel in the Atlas Mountains. It is coupled in the exhibition with a newly created work by Scully, Rabat Blue (2024), that constitutes what Kholeif describes as “a return to his propensity for constant interpolation and experimentation.” A similar confluence of formalist construction and emotional subcurrent is discernible in the works of Monir Shahroudy Farmanfarmaian, whose drawings from the 1970s through to the 1990s – populated by ornate, fractal-like motifs –anticipate the iconic wall sculpture ‘Four Seasons’, in which the artist blended cut-glass mosaic techniques with the languages of geometric abstraction and minimalism.
Kholeif has conceptualised the 67 Lisson Street gallery as a ‘church,’ its displays suggesting a playful take on religious iconography and ritual. A new triptych by Spanish Moroccan painter Anuar Khalifi restages the Holy Trinity. The interplay of Christian and Islamic traditions is extended through various other allusions, whether to the chequerboard floors of northern European painting, or the shadowless designs of Arabesque miniatures. In an equivalent bridging of histories and genres, the photographic diptych’ La Peau’ by Hrair Sarkissian casts the body as a desert landscape. Liliane Tomasko’s new work, ‘Shapeshifter (Chilled to the Bone)’, which Kholeif has noted –in terms that extend to the overall project – “serve as a seat of multiple desires that are stitched together, unstitched, and re-stitched.”
‘Finding My Blue Sky’ invites each viewer to contemplate or cross the boundary between thought and feeling, combining a critical response with the urgings of memory and history. For Kholeif, the cumulative effect could be: “An exhibition as pure expression of feeling. I have done this the only way that I know how – by invoking the voices of the artists that I have journeyed with, or vicariously through, over the years.”
Camden Arts Projects, a brand-new not-for-profit creative space dedicated to showcasing the works of both established and emerging artists and filmmakers based in a Grade II-listed former Methodist church, launches with a major exhibition by Turner Prize-winning artist Martin Creed. Curated by Hala Matar, the inaugural exhibition features Creed’s interactive installation ‘Work No. 3891 Half the air in a given space’, where half of the air in the room is contained within hundreds of balloons. Filling the gallery and transforming it into a sensory-filled environment, the artwork invites visitors to step inside, move through and physically engage with the work in a playful and tactile way. Previously presented in Los Angeles in 2022, in collaboration with Dries Van Noten, ‘Work No. 3891 Half the air in a given space’ reimagines the relationship between audience and artwork, evoking childlike wonder while heightening awareness of one’s own physicality. This exhibition marks the first time the artwork has returned to London since its presentation at the Hayward Gallery in 2014.
Built in the late 1860s in the Corinthian style, the Camden Arts Projects building was a place of worship for almost a century before The London Drama Centre took over in 1963. For forty years the likes of Colin Firth, Pierce Brosnan, Tom Hardy and Helen McCrory rehearsed there. The building was transformed into a contemporary art gallery in 2007 by AHMM architects, which it remains today, with a renewed vision and the addition of a film screening room.
Outside, Creed’s renowned neon text work ‘Work No. 1086: EVERYTHING IS GOING TO BE ALRIGHT’ will illuminate the façade of the historic building, welcoming visitors on arrival. Spanning over 12 metres, the white neon text – a recurring element in his work since 1999 – is inspired by reassuring yet ambiguous words from Creed’s past personal conversational exchanges. Interacting with the building’s neoclassical features, the artwork offers a moment of contemplation within its storied setting and will decorate the façade for an extended period.
‘Adventures in Joy’ at St Andrew’s Wickford presents the most recent work produced by artist and cleric Max Blake. It includes some of the work he has developed through his studies of Icons, as well as his experiments in a more abstract and surreal direction. Max explores his own deep imagination, which is fed by his wide knowledge of religion and reflections, amongst other things.
As a man of faith, much of his work expresses an exploration of the Christian faith. Over recent years, Max has studied Byzantine and Coptic Iconography, and he has used this study to develop his own interpretations of the icon. Much of Max’s work is highly detailed and the viewer can find many hidden details, people, faces and shapes in his work. This creates a joyful adventure for the eye through bright and vivid worlds. Max uses a range of media including oil paints, inks and coloured pencils.
Max Blake was born in East London in the early 50s and then grew up in Basildon. After graduating as a teacher, Max taught art in secondary schools across south Essex. He also worked with children with anxiety and children with special needs. He was ordained deacon, followed by priesting in the early 2000s. Although he is now retired, Max still works as a retired priest with Permission to Officiate in the United Benefice of Horndon, Orsett and Bulphan.
As well as artwork, Max has also illustrated book covers and books for children. He continues to exhibit his vibrant work in various locations, including the Well House Gallery in Horndon on the Hill and St Catherine’s Church in East Tilbury.
Lead image: Lubaina Himid, There Could Be an Endless Ocean, 2018 © Lubaina Himid, Courtesy Lisson Gallery
‘Márta Jakobovits: Just Silence’, 2 May – 30 May 2025, Liszt Institute London – Visit Here
‘Genesis Tramaine: Facing Giants”, 16 May — 2 November 2025, Consortium Museum, Dijon – Visit Here
‘Helaine Blumenfeld: Tree of Life’, 3 May – 19 October 2025, Gainsborough’s House – Visit Here
‘Garden to Canvas: Cedric Morris & Benton End’, 20 May – 18 June 2025, Philip Mould & Company –
‘Art in Nature’, 24 May – 1 June 2025, Waddesdon Manor – Visit Here
‘Drawing Room Invites… Anna Paterson, Alicia Reyes McNamara, Amba Sayal-Bennett’, 15 May – 27 July 2025, Drawing Room – Visit Here
‘Caspar Heinemann: Sod All’, 7 May – 3 August 2025, Studio Voltaire – Visit Here
‘+ Days + Nights’, 11 April – 8 June 2025, Elizabeth Xi Bauer Exmouth Market – Visit Here
‘Gei-Kaku Ichinyo (Art Core Oneness)’, 8 May — 28 June 2025, Gallery of Contemporary Art (GOCA) –
‘Finding My Blue Sky’, 30 May – 26 July 2025, Lisson Gallery –
Martin Creed’s ‘EVERYTHING IS GOING TO BE ALRIGHT’, 9 May – 29 June, Camden Arts Projects –
‘Adventures in Joy: An exhibition by Max Blake’, 2 May – 25 July 2025, St Andrew’s Wickford –