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Light of Absence (Liverpool, The Blue House)

Solitary Realms (Glasgow, The Blue House)

Inward Bound (Manchester, The Blue House)

Tracing Silence (Liverpool, Camden Art Centre)

Silent Geometry (London, Whitechapel Gallery)

Fragments of Light (London, Camden Art Centre)

Through the Mist (Glasgow, Whitechapel Gallery)

Echoes of Time (Glasgow, Brick Lane Gallery)

개인전

Shared Horizons (Leeds, Glasgow Contemporary Space)

Visual Dialogues (Liverpool, Tate Modern Studio)

Refractions (Liverpool, Bristol Gallery Hub)

Displaced Realities (Bristol, Leeds Collective)

Urban Tapestries (Bristol, Art Central Manchester)

Interwoven Narratives (Manchester, Glasgow Contemporary Space)

Art in Flux (Liverpool, Bristol Gallery Hub)

단체전

BA Fine Arts, University of the Arts London

Education

Jack Johnson

Jack Johnson incorporates found objects and everyday materials to examine notions of consumerism and history. Through assemblage and collage, they create tactile narratives that reflect on memory, nostalgia, and the detritus of contemporary life. Their studio practice is deeply intuitive, informed by urban exploration and the aesthetics of impermanence.

Memory Layers (Glasgow, Brick Lane Gallery)

Echoes of Time (Liverpool, Camden Art Centre)

Tracing Silence (Leeds, Lime Tree Studio)

Solitary Realms (Bristol, The Blue House)

Fragments of Light (Manchester, Camden Art Centre)

Through the Mist (London, Camden Art Centre)

Temporal Confluence (London, Glasgow Contemporary Space)

Urban Tapestries (London, Leeds Collective)

Visual Dialogues (Glasgow, Glasgow Contemporary Space)

Shared Horizons (Glasgow, Glasgow Contemporary Space)

Beyond the Frame (Manchester, Bristol Gallery Hub)

Displaced Realities (Bristol, Tate Modern Studio)

Refractions (Glasgow, Bristol Gallery Hub)

Art in Flux (Bristol, Glasgow Contemporary Space)

Collective Voices (Bristol, Bristol Gallery Hub)

Sophia Thomas

Sophia Thomas draws from personal history and collective memory to build introspective visual narratives. By using photography, printmaking, and text, they engage with archival material and oral histories to trace intergenerational stories. Their work is often described as hauntingly beautiful, balancing the personal with the universal.

Solitary Realms (Leeds, Camden Art Centre)

Tracing Silence (Manchester, Brick Lane Gallery)

Memory Layers (London, Brick Lane Gallery)

Fragments of Light (London, Whitechapel Gallery)

Echoes of Time (Manchester, Whitechapel Gallery)

Light of Absence (London, Whitechapel Gallery)

Through the Mist (Manchester, Whitechapel Gallery)

Urban Tapestries (London, Bristol Gallery Hub)

Refractions (Manchester, Glasgow Contemporary Space)

Temporal Confluence (Leeds, Glasgow Contemporary Space)

Collective Voices (Manchester, Glasgow Contemporary Space)

Shared Horizons (London, Bristol Gallery Hub)

Visual Dialogues (Liverpool, Glasgow Contemporary Space)

Beyond the Frame (Liverpool, Glasgow Contemporary Space)

Interwoven Narratives (London, Bristol Gallery Hub)

Displaced Realities (Bristol, Bristol Gallery Hub)

Mia Davies

Mia Davies explores themes of displacement and belonging through vibrant color and layered texture. Much of their work is autobiographical, informed by diasporic experiences and questions of cultural identity. The artist often works in series, developing visual lexicons that echo personal journeys and socio-political realities.

Fragments of Light (Leeds, Brick Lane Gallery)

Silent Geometry (Bristol, The Blue House)

Tracing Silence (Bristol, The Blue House)

Solitary Realms (Manchester, The Blue House)

Light of Absence (Liverpool, Lime Tree Studio)

Memory Layers (Bristol, Whitechapel Gallery)

Temporal Confluence (Bristol, Glasgow Contemporary Space)

Art in Flux (Leeds, Glasgow Contemporary Space)

Collective Voices (Glasgow, Bristol Gallery Hub)

Shared Horizons (Manchester, Leeds Collective)

Amelia Jones

Amelia Jones is a multidisciplinary artist whose work engages with themes of identity, place, and the passage of time. Drawing inspiration from their upbringing and multicultural background, they explore how geography and memory intertwine. Their installations frequently incorporate sound, text, and community interaction, creating layered narratives that question belonging and transformation.

Fragments of Light (Glasgow, The Blue House)

Tracing Silence (Glasgow, Brick Lane Gallery)

Silent Geometry (Liverpool, Camden Art Centre)

Through the Mist (Manchester, Camden Art Centre)

Light of Absence (Manchester, Camden Art Centre)

Inward Bound (Bristol, Brick Lane Gallery)

Echoes of Time (Glasgow, Whitechapel Gallery)

Refractions (London, Art Central Manchester)

Interwoven Narratives (Bristol, Bristol Gallery Hub)

Visual Dialogues (Glasgow, Leeds Collective)

Urban Tapestries (Liverpool, Leeds Collective)

Temporal Confluence (Manchester, Art Central Manchester)

Collective Voices (Glasgow, Glasgow Contemporary Space)

Displaced Realities (Leeds, Glasgow Contemporary Space)

Beyond the Frame (Bristol, Glasgow Contemporary Space)

Leo Evans

Leo Evans uses minimalist forms to express complex emotional states and social commentary. Through subtle shifts in form, repetition, and scale, their work creates meditative spaces that invite reflection and slowness. Their installations have been shown in both white-cube galleries and unconventional spaces, aiming to disrupt traditional viewing contexts.

Inward Bound (Bristol, Camden Art Centre)

Fragments of Light (Manchester, The Blue House)

Light of Absence (Manchester, The Blue House)

Echoes of Time (London, Brick Lane Gallery)

Through the Mist (Bristol, Brick Lane Gallery)

Echo Chamber (Manchester, The Blue House)

Memory Layers (Liverpool, Whitechapel Gallery)

Urban Tapestries (Leeds, Glasgow Contemporary Space)

Shared Horizons (Liverpool, Leeds Collective)

Visual Dialogues (Leeds, Glasgow Contemporary Space)

Art in Flux (Liverpool, Leeds Collective)

Interwoven Narratives (Leeds, Glasgow Contemporary Space)

Temporal Confluence (Glasgow, Art Central Manchester)

Oliver Smith

Oliver Smith is a contemporary visual artist based in the UK, known for exploring the boundaries between memory and material. Their work often combines photography, sculpture, and archival imagery to examine how personal and collective histories overlap. Through a subtle and poetic visual language, they invite the viewer to reconsider what is remembered, what is forgotten, and how stories are preserved through objects.

Silent Geometry (Bristol, Lime Tree Studio)

Fragments of Light (Bristol, Whitechapel Gallery)

Inward Bound (Manchester, Whitechapel Gallery)

Solitary Realms (Manchester, Whitechapel Gallery)

Tracing Silence (Leeds, Whitechapel Gallery)

Through the Mist (Leeds, Brick Lane Gallery)

Echoes of Time (Bristol, Whitechapel Gallery)

Displaced Realities (London, Tate Modern Studio)

Collective Voices (London, Tate Modern Studio)

Beyond the Frame (Leeds, Bristol Gallery Hub)

Urban Tapestries (Leeds, Bristol Gallery Hub)

Temporal Confluence (Manchester, Bristol Gallery Hub)

Visual Dialogues (Leeds, Tate Modern Studio)

Refractions (Liverpool, Leeds Collective)

Shared Horizons (London, Leeds Collective)

Isla Brown

Isla Brown works primarily with mixed media, drawing inspiration from both natural and industrial environments. By combining elements such as concrete, glass, soil, and light, their art addresses the tension between decay and regeneration. Their practice also includes eco-critical commentary, reflecting a deep engagement with the fragility of the planet.

Inward Bound (London, Brick Lane Gallery)

Solitary Realms (Bristol, Lime Tree Studio)

Tracing Silence (London, Whitechapel Gallery)

Silent Geometry (Glasgow, Lime Tree Studio)

Through the Mist (Bristol, Camden Art Centre)

Memory Layers (Manchester, Lime Tree Studio)

Echoes of Time (Glasgow, Camden Art Centre)

Shared Horizons (Manchester, Tate Modern Studio)

Art in Flux (Bristol, Bristol Gallery Hub)

Beyond the Frame (Glasgow, Glasgow Contemporary Space)

Collective Voices (London, Glasgow Contemporary Space)

Temporal Confluence (Liverpool, Tate Modern Studio)

George Williams

George Williams blends traditional techniques with modern narratives, offering a unique perspective on cultural heritage. Their works draw from folk art, mythology, and family archives, reinterpreting these influences in a contemporary context. The artist’s ability to weave storytelling with craftsmanship results in works that are both visually rich and emotionally resonant.

Solitary Realms (Bristol, Whitechapel Gallery)

Light of Absence (Bristol, The Blue House)

Through the Mist (Manchester, Brick Lane Gallery)

Echo Chamber (Liverpool, Whitechapel Gallery)

Tracing Silence (Manchester, Whitechapel Gallery)

Echoes of Time (London, Camden Art Centre)

Silent Geometry (Bristol, Camden Art Centre)

Shared Horizons (Bristol, Leeds Collective)

Refractions (Bristol, Art Central Manchester)

Displaced Realities (Manchester, Tate Modern Studio)

Collective Voices (Bristol, Leeds Collective)

Visual Dialogues (Bristol, Bristol Gallery Hub)

Harry Taylor

Harry Taylor creates immersive installations and paintings that reflect urban life and emotional landscapes. Their large-scale canvases often evoke the chaos and beauty of modern existence, while sculptural interventions challenge viewers to navigate physical and psychological spaces. Much of their recent work has been exhibited in public venues, blurring the line between art and environment.

Silent Geometry (Glasgow, The Blue House)

Memory Layers (Leeds, Brick Lane Gallery)

Fragments of Light (Glasgow, Whitechapel Gallery)

Through the Mist (Bristol, The Blue House)

Solitary Realms (Bristol, Camden Art Centre)

Light of Absence (Glasgow, Brick Lane Gallery)

Visual Dialogues (Bristol, Art Central Manchester)

Beyond the Frame (Manchester, Leeds Collective)

Interwoven Narratives (Liverpool, Leeds Collective)

Shared Horizons (Leeds, Tate Modern Studio)

Refractions (Bristol, Bristol Gallery Hub)

Temporal Confluence (London, Leeds Collective)

Lorin Delaire

Ava Wilson is known for their conceptual approach to storytelling through abstract compositions. Utilizing a restrained palette and minimalist forms, they focus on the emotional resonance of space, silence, and rhythm. Their recent series investigates the relationship between language and form, often pairing visual elements with poetic fragments or symbolic motifs.

김령아

김봉환

정재원

타이미

권예주

김아롬새미

도현지

김현성

“Thresholds of Silence” explores the quiet poetics of architectural geometry through a series of minimalist compositions. Each canvas isolates a moment of stillness—a wall, a shadow, a door—rendered in soft palettes and crisp lines. With a focus on light, absence, and negative space, this exhibition invites viewers to contemplate the tension between presence and emptiness, surface and depth. The paintings do not depict places as much as they evoke moods, inviting silence into the act of seeing.

Thresholds of Silence

In "The Quiet Weight of Stillness", the viewer is invited into an intimate world where silence reverberates louder than words. This new body of work by British painter Clara Penrose meditates on the vulnerability of the resting face—those moments of unguarded stillness when the psyche floats freely beneath the surface.

Each canvas in the series presents a portrait cropped daringly close: a cheek pressed against an arm, eyelids soft with sleep, lips delicately parted, skin lit by strange, cinematic hues. The artist's deft brushwork lends the figures a tender tactility; we can almost feel the warmth of the skin, the weight of breath, the echo of dreams forming just beneath the flesh.

But these are not just portraits—they are psychological landscapes. The soft shadows that cradle each face also suggest depths of sorrow, desire, memory. There's a palpable tension between serenity and sadness, between repose and resistance. In one painting, the subject appears to surrender to exhaustion; in another, she seems to be listening to something internal and infinite.

Color, too, plays a vital role. Penrose’s use of luminous oranges, mauves, and midnight blues speaks not only to the physical experience of light but also to the emotional currents pulsing within the frame. Her palette evokes dusk and dawn—the in-between hours where dreams and consciousness blend.

This exhibition resists spectacle. Instead, it draws viewers into an introspective pace, inviting them to sit with quietude, with breath, with the fragility of presence. In an age of endless movement and exposure, "The Quiet Weight of Stillness" reminds us of the radical act of pausing—to see, to feel, and to simply be.

The Quiet Weight of Stillness

In "Object, Interrupted", British sculptor Theo Hart presents a new series of hyper-minimalist, high-gloss forms that elegantly blur the boundary between sculpture and sensation. The works, monumental yet void of ornament, seduce with their polish and curve—reflections not only of light and space, but of the viewer’s own presence.

Hart's latest body of work is a meditation on material and perception. The sculptures are smooth, monolithic, and devoid of seams, often resembling closed loops or Möbius-like volumes frozen mid-transition. They resist literal interpretation, yet they feel profoundly animate—coiled, waiting, breathing in silence. One piece might evoke a reclining form; another, the mathematical purity of a continuous surface. Their ambiguity is not evasive, but invitational.

Executed in polished obsidian-black resin and carbonized steel, the surfaces are so reflective they verge on disappearing into their surroundings, like pools of shadow made solid. In a white-walled gallery, the contrast is arresting. The works seem to hover—not just physically, but conceptually—between object and void, function and futility, artifact and presence.

What is perhaps most striking about Hart’s sculptures is their refusal to “mean.” There is no narrative, no figuration, no didacticism. Instead, they invite a phenomenological experience: a slowing down, a circling, a reconsideration of spatial intuition. Their silence is absolute—but not empty.

The exhibition title, "Object, Interrupted," gestures toward the core tension in Hart’s practice: the interruption of pure form by the mind’s desire to define it. These are not objects to be understood; they are forms to be felt.

In a time of digital oversaturation and relentless symbolic overload, Theo Hart offers us something radical: the presence of a thing that simply is—irreducible, unnameable, complete.

Object, Interrupted

In "The Geometry of Whimsy", British visual artist B. Louis distills the essence of form, character, and emotion into strikingly minimal geometric expressions. Rendered almost exclusively in bold black and white, the works in this exhibition blend the precision of design with the charm of personality—each piece a study in visual economy, and yet brimming with quiet charisma.

At first glance, the sharp diagonals, crisp angles, and stark contrasts suggest a study in abstraction, perhaps a tribute to Constructivist or Bauhaus influences. But upon closer inspection, delightful surprises emerge. What appears to be a simple set of shapes suddenly resolves into the unmistakable silhouette of a cat—ears alert, one luminous eye aglow, body rendered in clean, angular lines. These aren’t just images; they are graphic haikus—succinct, refined, and layered with poetic resonance.

B. Louis is a master of omission. In a world saturated with detail and digital noise, their work champions subtraction. The artist plays with perception, reducing familiar subjects—often animals, objects, or human-like forms—to their barest visual language while never sacrificing recognition or charm. Each composition becomes a game of balance: between symmetry and asymmetry, motion and stillness, abstraction and figuration.

What’s particularly enchanting about this body of work is its refusal to explain itself. Titles are sparse or absent, and narrative is left open. In doing so, B. Louis places full trust in the viewer’s capacity for imagination. Is this cat staring into the void or guarding a secret? Is it alone or aware of our gaze? The answers shift with each glance.

Beyond their aesthetic appeal, these works provoke questions about communication and identity in contemporary visual culture. In an era obsessed with realism and hyperrepresentation, B. Louis chooses a different path—one of mystery, restraint, and elegance.

"The Geometry of Whimsy" is not just a visual exhibition, but an invitation: to slow down, to notice, and to rediscover joy in the simplicity of shape.

The Geometry of Whimsy

Nestled in the vibrant heart of Seoul, The Mirage Gallery stands as a beacon of Korea’s dynamic art landscape, effortlessly bridging the past with the future. 
Housed in a meticulously restored building that preserves traditional Korean architectural details while incorporating modern innovations, the gallery offers a distinctive setting that echoes the country’s rich cultural legacy. 

Its curated exhibitions showcase an eclectic blend of works—from delicate calligraphy and serene ink paintings to bold experimental installations and cutting-edge digital art. 
Each display is carefully designed to foster dialogue, inviting visitors to experience art on emotional, intellectual, and social levels. Regular interactive workshops, artist talks, and community events further define The Mirage Gallery as a thriving hub for creative exchange and cultural education. 

By harmonizing heritage with innovation, the gallery not only preserves Korea’s artistic traditions but also inspires a forward-thinking vision, encouraging audiences to reimagine the boundaries of contemporary art.