Gallery 1957, 1 Hyde Park Gate, South Kensington, London, SW7 5EW<\/p>\n
5 June-25 July<\/p>\n
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Freya Tewelde, A River Inside the Blue (2025)<\/p>\n
Courtesy of the artist and Gallery 1957<\/p>\n
New paintings by Tewelde, who was born in Asmara, Eritrea, grew up in Saudi Arabia and now lives in London. Memory has always been crucial to her work, with figures in the series Roots of Resonance: The Baobab Tree (2022-23) looming out of a dreamlike painterly haze as if through recollection. In this new body of work, Tewelde has moved further into abstraction; while she continues to explore the themes of belonging and what she calls \u201cin-betweenness\u201d common to earlier series, she translates her memories into pure feeling, hoping to build enveloping paintings \u201cthat can be entered rather than read\u201d, she says.<\/p>\n
Savannah Harris: Gloria’s<\/a><\/p>\n Harlesden High Street, 57 High Street, Harlesden, London, NW10 4NJ<\/p>\n 5 June-26 July<\/p>\n Savannah Harris: Gloria’s at Harlesden High Street promotional image<\/p>\n Courtesy the artist and the company<\/p>\n Visitors to Harlesden High Street may be shocked that the gallery appears to have been supplanted by a coffee shop, Gloria\u2019s, which resembles a well-known upmarket caf\u00e9 chain. But this is part of Savannah Harris\u2019s project, in which visitors can see several artists\u2019 work in painting and ceramics while enjoying their flat whites. Clearly identifiable are Harris\u2019s colourful abstractions, full of organic forms and geological strata, and incorporating sand as a reference to her Caribbean background as well as to her investigation of deep time. But other works are by unnamed \u201coutsider artists\u201d. Harris is asking searching questions: what purpose does art have in urban social space, and how much does name recognition\u2014hers versus those outsider artists\u2014matter in establishing value?<\/p>\n Ravelle Pillay: Revisitations<\/a><\/p>\n Goodman Gallery, 26 Cork Street, London, W1S 3ND<\/p>\n 4 June-16 July<\/p>\n Ravelle Pillay, Tributaries (2026)<\/p>\n Courtesy Goodman Gallery and the artist<\/p>\n Pillay\u2019s paintings begin with found images, including historic family photographs and those from official archives, relating her personal South African Indian and British heritage. The works that form Revisitations have an added poignancy since they relate to her father\u2019s death at the end of last year. She transforms her source photographs through a poetic painterly language so that, in her words, they become \u201cportmanteaus\u201d, a linguistic blend of the original image and the uncertain elements conjured through paint: subjective feeling, personal and collective memory and, now, grief. Pillay uses her medium\u2019s capacities to embody the complexities and ambiguities of archives and historical images not just as seen and analysed but as felt: through thin layers, erasure and staining, they have a haunting presence.<\/p>\n Candace Hill-Montgomery: A Bare Woman Mutters Nothing\u2026<\/a><\/p>\n Hollybush Gardens, 1\u20132 Warner Yard, London, EC1R 5EY<\/p>\n 5 June-18 July<\/p>\n Candace Hill-Montgomery, Pope L\u2019s T Raining Day (2025) Now in her eighties, Candace Hill-Montgomery is enjoying deserved if long overdue attention: she is showing in Greater New York at MoMA PS1 in New York until August and, here, presents her first exhibition with Hollybush Gardens. It is something of a mini retrospective, with works from the 1970s, a period in which Hill-Montgomery had a residency at the Studio Museum in Harlem and showed at Artists Space in New York, right up to new pieces. Among the highlights are her double-exposed photographs in which she layered images of abundant produce in Brooklyn grocery stores with pictures of her own works, and her weaves: textile pieces made on hand-made looms that make reference to a wealth of social, political, artistic and pop-cultural moments and people.<\/p>\n Rachel Maclean: The Enchantment of Reason<\/a><\/p>\n Josh Lilley, 40-46 Riding House Street, London, W1W 7EX<\/p>\n 5 June-1 August<\/p>\n Rachel Maclean, O! They greet you vs ye (2025)<\/p>\n Courtesy the artist and Josh Lilley, London. Photo by Eoin Carey.<\/p>\n For many years Rachel Maclean has been fascinated by the seething abyss beneath the shiny surface of technological developments, realising her films, VR experiences, paintings and sculptures in a sickly confectionary-coloured palette, and with an intensity of action and imagery, that overloads the viewer to the point of queasiness. She has trained her satirical eye on artificial intelligence for some time, and here, as well as paintings, shows her film They\u2019ve Got Your Eyes (2026), also currently on view at FACT in Liverpool, which equivocates insufferable 21st-century tech bros with the visionaries of the Victorian industrial age. Typically, while questioning AI and the culture around it, Maclean uses its technologies to make the work, laying bare the contradictions inherent in our navigation of the digital landscape.<\/p>\n Terry Winters: Along the River<\/a><\/p>\n Modern Art, 8 Bennet Street, London, SW1A 1RP<\/p>\n 5 June-11 July<\/p>\n Terry Winters, Locus (2026)<\/p>\n Courtesy the artist and Modern Art<\/p>\n These eight new paintings by the US artist reflect his ongoing fascination with the natural world through the medium of abstraction. The pictures, each titled with a single word\u2014among them, Field, Scope and Area\u2014relate to an earlier body of work called the Point Cloud Pictures, referring to a form of 3D modelling but immediately evocative of natural forms. The clouds of shapes we see in Winters\u2019s compositions conjure everything from constellations to murmurations to bacterial mutations, while remaining resolutely in the realms of abstract shape, colour and tone. As befits a group of works born of a singular response to the natural world, the exhibition\u2019s title was inspired by a quote from Paul Cezanne: \u201cHere, along the river, the motifs multiply.\u201d<\/p>\n Keith Piper: Red Flags<\/a><\/p>\n Niru Ratnam, 71-73 Great Portland Street, London, W1W 7LP<\/p>\n 5 June-25 July<\/p>\n Keith Piper, As Arm in Arm they enter the gallery (1982)<\/p>\n Courtesy the artist and Niru Ratnam, London<\/p>\n A cluster of works from across Piper\u2019s career, including pieces made in the crucial 1980s period in which he was a founding member of the BLK Art Group. Since that time, Piper\u2019s work has remained remarkably consistent in using a range of media, including digital technologies, to explore systemic racism and narratives of Blackness amid wider social conditions. The exhibition\u2019s title relates to his most recent works, where he makes reference to Operation Raise the Colours, a recent campaign where the display of English and British flags, purportedly representing patriotism, thinly masks growing far-right xenophobia in the UK.<\/p>\n Hayv Kahraman: What cannot be said will be wept<\/a><\/p>\n Pilar Corrias, 51 Conduit Street, London, W1S 2YT<\/p>\n 5 June-5 September<\/p>\n Hayv Kahraman, Four figures kneeling (2026)<\/p>\n Courtesy of the artist and Pilar Corrias, London<\/p>\n Kahraman\u2019s latest body of work explores both her background as a Kurdish-Iraqi refugee in Europe and ultimately the US, and a recent acute trauma\u2014losing her home in Altadena to the Los Angeles wildfires in early 2025. As always, the paintings are inhabited by figures that act in part as self-portraits, pictured in an space that is both sparely contemporary yet evocative of numerous historic traditions. The effect is heightened by her exquisite use of her medium; here, in sequences of delicate marbling and staining. Displacement has always been at the heart of her work, and it increasingly extends beyond Kahraman\u2019s autobiography to a deeper human dislocation from the natural world amid a climate catastrophe. \u201cIn a burning world,\u201d the artist writes in an extended text on the exhibition, \u201cI turn to water: to seas, to rivers, to tears.\u201d<\/p>\n Anne Imhof: Citizen<\/a><\/p>\n Spr\u00fcth Magers, 7a Grafton Street, London, W1S 4EJ<\/p>\n 5 June-1 August<\/p>\n Installation view of Anne Imhof: Citizen at Spr\u00fcth Magers, London Anne Imhof\u2019s performance practice, in which her groups of collaborators perform across multiple modes from song to contemporary dance to skateboarding, is so distinctive in the way that it embeds the audience into the fabric of the work that it has overshadowed some of the wider aspects of her work. Her gallery exhibitions reflect her output in the round, involving sculptural environments and pieces in more conventional media including painting. Among the works on view here is the eponymous Citizen, a four-channel film relating to DOOM: House of Hope (2025), Imhof\u2019s multi-part work for the Park Avenue Armory in New York, and a group of Wave paintings, vast pieces informed by digital images of turbulent seas. The paintings unavoidably conjure the spirit of earlier German traditions, from Caspar David Friedrich\u2019s Romanticism to the photo-paintings of Gerhard Richter.<\/p>\n Caragh Thuring<\/a><\/p>\n Thomas Dane Gallery, 3 & 11 Duke Street, St James’s, London, SW1Y 6BN<\/p>\n 5 June-19 September<\/p>\n Caragh Thuring, detail of The Announcement (2025) One of Caragh Thuring\u2019s most enduring capacities is for surprise. Her layered paintings can use multiple languages, painterly modes and forms of expression within one canvas, happily bringing together bedfellows one would never ordinarily connect. Her latest canvases are typical in their scope, with cartoonish forms brought into close relation with images from art history and expansive patterns, each piece at once singular and yet coherent within the wider group. These pictures achieve a rare balance, being both arresting and endlessly absorbing. Also on show at Thomas Dane is Out and About: Prunella Clough paintings from the 1980s and 1990s, a significant gathering of the late work of the lyrical British painter, curated by the former director of Camden Art Centre, Jenni Lomax (5 June-25 July).<\/p>\n East and South Gabriele Beveridge: Never Ends<\/a><\/p>\n Seventeen, 270-276 Kingsland Road, Entrance on Acton Mews, London, E8 4DG<\/p>\n 22 May-27 June<\/p>\n Gabriele Beveridge, Spine (2026)<\/p>\n Courtesy of Seventeen, 2026.<\/p>\n Gabriele Beveridge highlights the inextricable intertwining of the ecological with the industrial in sculpture that combines organic bodily forms with industrial processes. One of these latest works in hand blown glass resembles a giant teardrop hitched to a metal spine, another a column of fleshy pink orbs while others take the form of balloons that slump and spill over skeletal metal structures. Chemical reactions and extreme heat also play a part in creating a series of aluminium panel pieces, anodised to a sheen through an electrochemical process before being bathed in sulphuric acid and dripped with dyes resulting in branchlike vegetal patterns that, despite their artificial origins, conjure up natural connotations of milk duct anatomy, river networks, and mycelium.<\/p>\n Alvaro Barrington: 92-01 ‘In Livin Color’<\/a><\/p>\n Emalin, 4\u20138 Helmet Row, London, EC1V 3QJ<\/p>\n 6 June-15 August<\/p>\n Alvaro Barrington: 21-01 ‘In Living Color’ promotional image<\/p>\n Courtesy of the artist<\/p>\n In this new body of work Barrington explores the impact of the crack cocaine epidemic on the US Black community during the 1980s and 90s. Four unique environments – each representing one of the four seasons – examine the rich cultural responses that emerged from this era and ways in which the Black community dealt with this condition through fashion, music, and other art forms. The year 1992 has become a nostalgic baseline for Barrington, referencing 1990s New York and Caribbean hip-hop, fashion, and pop culture. It also represents the end of the iconic NBC sitcom\u00a0A Different World\u00a0\u2013 the title also given to the ongoing series of hand-stitched postcards that Barrington has been making since his MoMA PS1 show in 2017- a number of which are included in this show. Other new yarn and concrete-based paintings continue Barrington\u2019s distinctive material vocabulary explored in key projects such as his Tate Britain Duveens Commission in 2024, and his continuing participation in the Notting Hill Carnival. Emalin Clerk\u2019s House is showing Hungry for Trash, a solo exhibition of new works by American artist Kembra Pfahler.<\/p>\n Delaine Le Bas: Leap<\/a><\/p>\n Maureen Paley, 4 Herald Street, London, E2 6JT<\/p>\n 4 June-25 July<\/p>\n Delaine Le Bas, Blue House (2025) Centre stage in the gallery\u2019s first exhibition of Delaine Le Bas is the Goddess, a sculptural figure fashioned from handmade elements and found objects as well as vintage textiles which the artist, who grew up in a Romani family and whose multimedia work interrogates identity, representation and cultural misunderstanding, describes as \u201ca call to action in the times we now find ourselves.\u201d Also on show is a new series of Murano glass works, created in collaboration with Studio Berengo in Venice which draws on imagery associated with witches and folkloric outsider figures as part of Le Bas\u2019s broader and ongoing interest in difference, individuality and the power of transformation.<\/p>\n Ally Fallon: At the still point of the turning world <\/a><\/p>\n Hales Gallery, 7 Bethnal Green Road, London, E1 6LA<\/p>\n 4 June-17 July<\/p>\n Ally Fallon, Poppies (2026)<\/p>\n Photo: Michael Pollard. Courtesy of the artist and Hales Gallery<\/p>\n Last year\u2019s winner of the prestigious John Moores painting prize and the youngest ever artist to scoop this prestigious award, Ally Fallon here continues his exploration into the process of painting, in works that combine both structure and spontaneity and build on the legacy of English Abstraction . Repetitive labour-intensive rendering of densely patterned floors drawn both from his immediate surroundings and wider travels, acts both to ground the work in a recognisable world while also freeing up the subconscious, allowing atmosphere and unexpected gestures to emerge. The show\u2019s title is taken from a line in T.S. Eliot\u2019s poem Burnt Norton, a meditation on temporal existence where consciousness resides in the \u2018still point\u2019 of the present; and Fallon\u2019s paintings similarly engage with time as an abstract and elastic condition . <\/p>\n Unyimeabasi Udoh: No Vehicles<\/a><\/p>\n Alma Pearl, Unit T, Reliance Wharf, 2-10 Hertford Road, Main entrance on Kingsland Towpath, Regent\u2019s Canal, London, N1 5ET<\/p>\n 21 May-4 July<\/p>\n Unyimeabasi Udoh, No Vehicles (Siren) (2026)<\/p>\n \u00a9 Unyimeabasi Udoh. Courtesy of Alma Pearl, London<\/p>\n New work by this London\u2013based Nigerian American artist whose wall-based sculptures engage with the materiality of language, image and sign. Meticulously fabricated from materials such as aluminium and retroreflective glass that are more commonly associated with road infrastructure, their low contrast surfaces are activated by changing light and the perspective of viewers, variously shifting in appearance from luminous to opaque and sometimes the seemingly void. These are accompanied by a group of screenprints titled Diversions which are based on photographs of advertising billboards and hoardings captured in London across the past year. There\u2019s also a site-specific installation which maps the gallery in silver masking tape.<\/p>\n Elena Njoabuzia Onwochei-Garcia: The Altering of Innocence and Experience<\/a><\/p>\n William Hine, 311 Camberwell New Road, London, SE5 0TF<\/p>\n 5 June-25 July<\/p>\n Elena Njoabuzia Onwochei-Garcia, P\u2019s Curiosity (2026) <\/p>\n Courtesy of William Hine<\/p>\n Central to this exhibition of new work by Glasgow-based Onwochei-Garcia is an installation of large-scale, suspended collages that combine individual works into dangling immersive structures. Here layered compositions rendered in watercolour and pastel on Japanese washi paper depict allegorical scenes that draw on literature, myth and folklore, intertwining historical research with fictional references. These range across Homeric myths to William Blake\u2019s illustrated poems (which give the show its title) and Goya\u2019s Caprichos etchings. All combine to form complex and unstable tableaux inhabited by dreamlike fantastical figures and environments. These large but fragile works are also interspersed with smaller paintings made from milk-based casein applied to pieces of marble. <\/p>\n Heft: Melissa Joseph; A Thin Place: Max Bainbridge <\/a><\/p>\n Sim Smith, 6 Camberwell Passage, London, SE5 0AX<\/p>\n 6 June-18 July<\/p>\n Melissa Joseph’s felt work<\/p>\n Courtesy of the artist. Photo: Daniel Greer<\/p>\n New York-based Melissa Joseph\u2019s first large-scale exhibition in the UK consists of large felted works made from fleece and elements from the landscape which have been created in response to research following sheep across Scotland. Drawing on her Indian-American upbringing Joseph highlights a resonant parallel between animal instinct and human migration by noting how ewes pass down vital spatial knowledge to their lambs. She then uses this phenomenon as a lens to explore how human displacement disrupts cultural, emotional, and epigenetic memory. In the gallery\u2019s second solo show, British sculptor Max Bainbridge\u2019s carved wooden works \u00a0assume the role of bodily analogues to explore the thin and porous boundary between humans and nature.<\/p>\n Dominic Watson: Vinegar and Piss<\/a><\/p>\n The Sunday Painter, 117-119 South Lambeth Road, London, SW8 1XA Dominic Watson, Ecstasy of Want 2 (2026)<\/p>\n Courtesy of the artist and The Sunday Painter<\/p>\n Dominic Watson presents a large-scale sculptural installation centred around a galleon constructed from reclaimed wooden children\u2019s playhouses. Visitors can enterthis fantastical structure which stands as a portrait of contemporary England: a nation adrift, run aground, and in decline. The crew are fragmented figurative sculptures made from clay, wax, polystyrene, and papier-m\u00e2ch\u00e9 who have descended into chaos and madness. Even the female figurehead is being sucked dry by breast pumps feeding perpetually voracious mouths protruding from the ship\u2019s sides .The expression \u2018full of piss and vinegar\u2019 used to describe youthful energy and combative spirit \u2013 but here it is reversed to describe a sour, sad and not at all Merrie England, now sustained only by nostalgia and small minded nastiness.<\/p>\n Serena Korda: The Golem Rises <\/a><\/p>\n Cooke Latham, 41 Parkgate Road, London, SW11 4NP<\/p>\n 5 June-3 July<\/p>\n Serena Korda, , Am I a Monster (2026)<\/p>\n Courtesy Cooke Latham Gallery. Photography BJ Deakin Photography.<\/p>\n In the allegorical ceramic frieze that forms the heart of this show, Serena Korda reimagines the Jewish folkloric story of the Golem\u2019s creation to explore the transformative power of motherhood and the elemental energy of creation. By conjuring a mythic city of women and merging it with the enduring mythic power of the Golem, Korda reframes motherhood as a site of radical power, imagination and survival and celebrates maternal creation as elemental and political. But at the same time, by using the language of domesticity \u2013 the frieze is made from ceramic tiles and two domestically scaled ceramic lamps take the form of strong primal mother figures \u2013 Korda also acknowledges the enduring and stifling societal pressure to narrow, contain, and domesticate the self.<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/britain\/wp-content\/uploads\/2026\/06\/00d05b57d1974d91f4b3ded54f8dba1b25ae434b-808x756.jpg\"\/)
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\u00a9 Candace Hill-Montgomery. Courtesy the artist and Hollybush Gardens, London. Photo: Andy Keate<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/britain\/wp-content\/uploads\/2026\/06\/df834686f5bad92cd00551cead4aee3f718317d7-6000x4000.jpg\"\/)
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\u00a9 Anne Imhof; Courtesy the artist and Spr\u00fcth Magers; Photo: Ben Westoby \/ Fine Art Documentation<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/britain\/wp-content\/uploads\/2026\/06\/6afbe36a6ee16f0e262eda99b8f637ca499533f2-3000x2250.jpg\"\/)
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\u00a9 Caragh Thuring. Courtesy the artist and Thomas Dane Gallery. Photo: Ben Westoby<\/p>\n
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\u00a9 Delaine Le Bas, courtesy Berengo Studio, Murano, Italy and Maureen Paley, London. Photo: Francesco Allegretto<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/britain\/wp-content\/uploads\/2026\/06\/dc0f9c9c1d0a625cb4e627acbd9f32168b689cab-1988x3000.jpg\"\/)
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