The ArtEvol 2025 catalogue marks a significant moment in the contemporary art landscape. Featuring contributions from over 400 artists worldwide, it brings together a dynamic cross-section of emerging practices and global perspectives. With mediums ranging from painting and sculpture to digital installations and text-based works, the catalogue reflects the evolving language of contemporary art today.
CONTENTS
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INTRODUCTION
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CURATOR’S FOREWORD
Nelson Qin
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ABOUT
London Art Collective
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BACKGROUND & HERITAGE
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ArtEvol 2024 (H2)
ART COLLECTIVE: From the One to the Many
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ArtEvol 2024 (H1)
ROTOR
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ArtEvol 2023
ON PURPLE: The Purpose of Hue
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ArtEvol 2022
Neo-Space
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THE EXHIBITION
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ArtEvol 2025
ArtEvol 2025: Voices from the Undefined
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ArtEvol Award 2025 Audience Choice Award
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ArtEvol 2025 FEATURED ARTISTS
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ArtEvol 2025 ARTISTS
SPECIAL THANKS
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INDEX
The London Art Collective (LAC) considers its annual exhibition a continuous project, with the exhibition ArtEvol 2025: Voices from the Undefined intended to continue and summarise LAC’s exhibition direction over the past few years. ‘Evol’, which signifies ‘evolution’, has each letter representing the spirit of each year’s exhibition. In the previous four years, these were: Launch, Openness, Versus, and Exchange, moving from ‘opening’ to ‘openness’ and from ‘dialogue’ to ‘communication’, forming the core methodology of this series. From the first major annual exhibition, Neo-Space: Meet the New Generation of Independent Artists in 2022, LAC has been committed to supporting emerging artists and providing exhibition opportunities for them. In the following years, as the global art ecosystem entered a stage emphasising collaboration and co-production, collective art and collaboration gradually became an important trend in the international art world. In this context, the 2024 exhibition ART COLLECTIVE: From the One to the Many further deepened and echoed the global context. ArtEvol 2025: Voices from the Undefined focuses on the artists in contemporary art who come from different cultural backgrounds and possess diverse developmental experiences and forms of expression. They may not have entered mainstream institutions, established cooperative relationships with galleries, or been included in the existing art market system. LAC refers to them as ‘Undefined Voices’ and believes that the diversity they bring will open up more exciting possibilities for the contemporary art ecosystem. The concept of the ArtEvol 2025: Voices from the Undefined exhibition revolves around the ideas of cybernetic art (feedback, adaptation, and open systems), presenting how artists generate responses in specific times and environments and engage in fluid practices across different disciplines, identities, and media. These creative methods reflect the mainstream trend of interdisciplinary and borderless contemporary art. These practices remind us that the value of ‘new’ lies both in the process of becoming and in the ideas it generates. The exhibition also focuses on voices that are often overlooked in conflict areas, marginalised communities, and areas outside the centre of the art world, and presents related works. ArtEvol 2025: Voices from the Undefined creates a space for dialogue where these emerging practices can be truly heard and viewed equally, not as exceptions, but as possibilities for the future itself. This curatorial approach adopts a salon-style layout, breaks the traditional single, linear flow, and is not confined to the zoning and ordering typical of mainstream exhibitions. By displaying dense and multi-level works, a free, open, and sporadic spatial atmosphere is created, allowing the audience to wander freely and make discoveries among the works. This design not only reflects the concept of diverse coexistence and continuous emergence advocated by the exhibition, but also strengthens the development of uncertainty and nonlinearity in artistic practice. The audience is no longer passively accepting a single narrative here, but is invited to participate in a multi-perspective, interwoven and continuous dialogue experience, redefining the relationship among the works and between viewers and artworks. Under the framework of ArtEvol 2025: Voices from the Undefined , the core issues addressed by the exhibition include identity generation, the relationship between technology and the body, ecological awareness, and visibility politics. These practices often arise from cross-cultural transfer experiences, constant changes, and technological interventions in daily life. Artists deal with the tension between technology and the body in their works, revealing how human perception is reshaped by algorithms, media
INTRODUCTION
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systems, and information flows. The voices from marginalised communities further emphasise that visibility and voice in art are always closely related to power structures. Through the interweaving of these issues, the exhibition presents the multiple paths generated by contemporary art in uncertainty, and suggests that ‘undefined’ is not a state, but a mode of production leading to new possibilities. The exhibition contributes to promoting contemporary art towards a more open methodology. By highlighting experimental creative paths, it provides a real and equal platform for diverse artistic practices to be presented, allowing these practices to enter a broader dialogue. Meanwhile, the exhibition encourages the audience to think about the future direction of collaboration and interdisciplinary work. It demonstrates that art is a generative process that constantly responds to environmental and social conditions. More importantly, it invites viewers to pay attention to the subtle and emerging creative states, which are often overlooked process values or foreshadow the potential trajectories of future artistic development. The significance of this catalogue is to encourage readers to view both the featured works and the accompanying texts as a generative and flowing collection of viewpoints. It aims to inspire broader thinking and prompt readers to pay attention to artistic energies that have not yet been fully explained. LAC hopes that viewers can establish personal connections with the questions and emotions presented in the works during the reading and viewing process, so that diverse backgrounds and experiences can generate new meanings in each encounter. More importantly, this catalogue seeks to offer peers, curators, and gallerists inspiration and reference when selecting artists for future projects, while also creating opportunities for the featured artists beyond this exhibition. This exhibition was curated by Nelson Qin and presented by the London Art Collective (LAC), with the support of its institutional network and partners. Special thanks are extended to gallery rosenfeld and the ArtEvol 2025 Committee for their support during the exhibition implementation process. LAC would also like to thank artists from all over the world for their submissions. The inclusion of these diverse voices and creative practices has greatly enriched the curatorial team’s thinking and the content of the exhibition, fostering multidimensional dialogue and exchange.
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When planning the exhibition Neo-Space: Meet the new generation of independent artists , I had a long-term plan in my mind. I wanted to incorporate the word LOVE into each annual exhibition of the London Art Collective, which led to the thematic words for the first four years of the exhibition. From Launch, Openness, Versus and Exchange, until ArtEvol 2025: Voices from the Undefined , I once again rearranged these four letters, which generates another meaning of ‘EVOL’, namely, ‘Evolution’. Therefore, in the process of constructing this exhibition, I kept returning to the framework proposed by cybernetics. Compared to viewing it as a technology, I am more concerned with how it provides new paths of understanding for marginalised and insufficiently heard voices. The reason for choosing this theme is that in the highly systematised, labelled, and algorithmic cultural context of today, there are still many practices that cannot be fully integrated by language, institutions, or markets. They occur on the periphery, develop within unstable contexts, and respond in their own ways to social pressures, global mobility, technological intervention, and ongoing changes in identity. These practices remind us that art is not only an outcome but also a process; becoming itself is a positive aesthetic and political posture. When mainstream narratives organise knowledge in a centralised manner, cybernetics reminds us to focus on signals that are excluded from the system or weakened in the loop, which are not noise but key variables for the system to reorganise itself. These edge signals affect the overall structure through small perturbations, and their existence reveals how cognitive, subjective, and cultural networks are rewritten in constant feedback. In this understanding, each work in this exhibition is not a one-way expression, but rather like a series of ‘signal points’: they send neglected emotions, experiences, and history back into the loop, gaining position and energy in a constantly generated network of relationships. Artists’ cross-media, identity, and regional practices together form a dynamic system, and what I am doing is simply providing a field for these signals to resonate with each other. The participating artists in this exhibition come from diverse cultural backgrounds, and their practices span images, installations, sound, texts, and mixed media. Their commonality lies not in form but in a continuous exploratory attitude: how to find the relationship between oneself and the environment in an unstable world; how to generate new narratives through art; how to resist being defined. Their works either focus on contemplating the structure of memory, identity, and flow, or making marginalised experiences visible again. These themes of creation and exhibition form a kind of intertextuality and also constitute different aspects of our future possibilities. In terms of curatorial methods, I attempt to construct exhibition narratives in a cybernetic manner: not linear narratives, but multi-point open systems. The works form a mutual interaction rather than being incorporated into a single framework. The audience’s experience in the exhibition also has directional diversity, as they can enter from anywhere, move between works along their own path, and understand how artists handle feedback relationships in complex worlds through visual, physical, and emotional experiences. So in terms of spatial narrative, I am not following the presentation structure commonly seen in mainstream exhibitions. This layout allows works to connect with each other in a more natural and open way, and also turns the viewer’s movement in space into an active thinking process. The exhibition structure is therefore presented as a constantly expanding field rather than
NELSON QIN CURATOR’S FOREWORD
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a fixed sequence, echoing the generative nature of exhibition concepts and artistic practices.
As a curator, I hope to raise a simple yet consistently important question through this exhibition: how can we reclaim unnamed spaces in a world that is constantly being defined? Can these works help us rethink the relationships between systems, identity, technology, and the environment? More importantly, in a highly uncertain era, can art become a new way of connection and a new system of imagination? There are no definitive answers to these questions, but precisely because of this, they deserve to be continuously discussed and re-questioned through art. Last but not least, I would like to thank all the artists who submitted their works for this exhibition, which allowed the judges and me to see how brilliant their ideas and perspectives are. I would also like to congratulate all the selected artists for their unique and resilient voices, which clearly articulate the ‘undefined’ state that the exhibition attempts to explore. They integrate their works, experiences, and complex feelings into this constantly evolving narrative; it is their voices that allow us to touch those faint but crucial energies from the edges, from cracks, from unnamed places. They also make ‘EVOL’ truly an ongoing evolution, rather than a concept that solidifies after being named. I would also like to express my sincere gratitude to the ArtEvol 2025 Committee for their professional support and diligent work during the selection and preparation process of this exhibition. I am especially grateful to the committee members Carey Young, Kaori Homma, Maggie Roberts, Rui Gonçalves Cepeda, and Sin Park, who were present to support the exhibition, allowing for further communication and discussion of the exhibition. I am particularly thankful to Rui for his generous support. During the selection stage, we had in-depth discussions every week about the exhibition concept and selection of works, which benefited us greatly. Meanwhile, during this five-year curatorial journey of ‘ArtEvol’ development, I would like to extend my heartfelt thanks to Joe Richards, co-curator of ART COLLECTIVE: From the One to the Many , for planning the ART COLLECTIVE: From the One to the Many exhibition with me at the Saatchi Gallery in 2024. Thank you for providing many special insights and ongoing support throughout this journey, which is an important reason why I am able to continue practising. I also deeply appreciate all the colleagues in the curatorial team and all the staff of the London Art Collective for their support of every exhibition. They worked alongside me through countless late-night revisions, meetings, and space planning, making this exhibition truly a reality. Finally, I would like to thank the institutions, partners, and friends who provided support during the preparation process. Special thanks go to the Saatchi Gallery for their continual support of LAC. It is their support that made this work possible and allowed all ideas that are still in the process of being formed to ultimately find a way to present themselves.
May this catalogue and exhibition give back to all those involved: not with results, but with the dialogue they continue to inspire.
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The London Art Collective (LAC) was founded in London in 2018 and has since presented more than 30 exhibitions featuring over 200 artists. In 2020, LAC launched a global programme to support young artists and foster emerging talent by partnering with more than 30 galleries across the UK, providing increased exposure through galleries and art magazines, including Tate Etc., V&A Magazine, and Frieze. As an official partner of the London Design Festival, LAC presented On Purple: The Purpose of Hue , ranked as the top exhibition in the 21st London Design Festival’s Mayfair Design District. In February 2024, LAC exclusively curated and presented a contemporary art exhibition at Le Carrousel du Louvre in France. In September of the same year, LAC collaborated with the Saatchi Gallery to host the 22nd London Design Festival contemporary art exhibition ART COLLECTIVE: From the One to the Many . In 2025, LAC once again presented an exhibition at the Saatchi Gallery with a new curatorial approach, ArtEvol 2025: Voices from the Undefined , introducing an innovative curatorial model that continues to expand the dialogue between contemporary art and global audiences. Since 2023, LAC has launched a global youth artist support programme and has collaborated with art institutions to provide young artists with international exhibition opportunities. LAC’s mission has always been centred on supporting independent artists and is committed to providing them with a sustainable environment for development and a broader platform for the presentation of their work. We focus on artists’ creative expression and on their long-term growth in career paths, social influence, and cross-disciplinary cooperation. In the future, LAC will continue to uphold this mission and continuously expand its influence, connecting voices from different cultures, backgrounds, and disciplines with a more open and inclusive approach, and promoting the prosperity of the art ecosystem. We believe that the power of art lies in creating new cognitive and emotional connections. LAC will continue to provide artists with more resources and opportunities, allowing their works to be seen, understood, and touched. At the same time, we also hope to present the audience with more profound and sharp artistic content, allowing them to gain unique spiritual resonance through aesthetic experience, and thus feel the resonance and inspiration between art and reality.
LONDON ART COLLECTIVE ABOUT
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Contemporary art institutions have long operated within a visible yet rarely questioned hierarchy–one that privileges fame, access, and institutional validation over lived experience and intuitive making. In such a system, artists from marginalised, untrained, or diasporic backgrounds are often excluded, their practices considered ‘not yet ready’, ‘unestablished’ or simply ‘invisible’. ArtEvol: Voices from the Undefined seeks to confront and break down these curatorial and institutional hierarchies by offering an alternative framework–one that listens to, rather than frames, the undefined. ArtEvol: Voices from the Undefined emerges precisely within this context. It is not only an exhibition but also a curatorial experiment aimed at challenging the hierarchical structures embedded in the art world. This exhibition is both a development and an extension of four prior exhibitions by London Art Collective (LAC). Each letter of the title ‘ArtEvol’ (E–V–O–L) reflects a core conceptual stage in this evolving curatorial inquiry. These meanings are not fixed, nor should they be dictated by the exhibition itself. Each viewer and participating artist is invited to interpret and reimagine what ‘ArtEvol’ signifies. These four exhibitions and form a curatorial arc towards ArtEvol: Voices from the Undefined , creating a curatorial trajectory that moves from launching experimentation to expanding openness, from historical confrontation to collective exchange–each step redefining the boundaries of the art ecosystem. In terms of research direction, the exhibition draws on cybernetics theory to foster a more organic art ecosystem, recognising its groundbreaking influence on art practice in the twentieth century. If systems are capable of self-regulation and feedback, can the art institution itself function as an open structure, continuously reconfigurable? ArtEvol is not a static display but a curatorial practice that attempts a ‘systemic transformation’, aiming to discover mechanisms that allow ‘undefined’ groups to voice themselves genuinely.
BACKGROUND & HERITAGE
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ArtEvol 2024 (H2)
ArtEvol 2024 (H1)
ArtEvol 2023
ArtEvol 2022
O – Openness
L – Launch
E – Exchange
V – Versus
Saatchi Gallery, London September 2024
Le Carrousel du Louvre February 2024
189 Piccadilly, London September 2023
Soho, London September 2022
ART COLLECTIVE: From the One to the Many
ROTOR
On Purple: The Purpose of Hue
Neo-Space
The 4th International Art Exhibition
The 3rd International Art Exhibition
The 2nd International Art Exhibition
The 1st International Art Exhibition
The 4th edition of ArtEvol, held in London in 2024, featured over 100 works by nearly 50 artists. Focusing on intellectual and expressive exchange within collective artistic practices, the exhibition investigated how collaboration and co-creation can enable a shift from the individual to the plural.
The 3rd edition of ArtEvol, held in Paris in 2024, featured over 200 works by nearly 80 artists. The exhibition introduced emerging artists into historically saturated spaces and generated tension and dialogue between the ‘old’ and the ‘new’, where ‘Versus’ stands for confrontation and contrast between history and contemporaneity, tradition and innovation.
The 2nd edition of ArtEvol, held in London in 2023, featured over 100 works by nearly 50 artists. Emphasising inclusivity and openness toward diverse artistic forms, and using strategic media engagement, the exhibition aimed to increase the visibility of experimental practices and address the urgent need to ‘be seen’.
The 1st edition of ArtEvol, held in London in 2022, featured over 40 works by nearly 14 artists. The exhibition focused on experimental practices by a new generation of artists and explored expressions emerging from marginal and early-stage creative positions.
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ArtEvol 2024 (H2) ART COLLECTIVE: From the One to the Many The 4th International Art Exhibition
When Marcel Duchamp, André Breton, and their peers folded down pages of paper to draw fragmented anticipations of the body, which were revealed as new creatures, they formed a system of thought that continues to inspire and delight today. ‘Le cadavre exquis boira le vin nouveau’ (the exquisite corpse will drink the new wine). In this spirit, ‘From the One to the Many’ is conceived as a wholehearted conjuring–a celebration of the energy of anticipation and a faithful connection to instinct that gives rise to a new art collective. In contemporary art, the dynamics of international collaboration and community are essential. This exhibition brings together the works of multiple artists from around the world, each driven by a shared mission of freedom and a spirit of experimentation.
ART COLLECTIVE: From the One to the Many
Curated by Nelson Qin, Joe Richards
Presented by London Art Collective (LAC)
Saatchi Gallery, London September 2024
The 4th international art exhibition ArtEvol, 2024
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ArtEvol 2024 (H1) ROTOR The 3rd International Art Exhibition
The exhibition title, ROTOR , is derived from engineering and refers to a rotating body supported by an axle bearing, embodying a spirit of renewal and iteration. The exhibition explores the philosophical dimension of the term ‘rotor’ as the etymological root of ‘revolve’, framing it as a metaphor for the renewal and iteration of ideas and the ongoing evolution of thought. Artistic concepts are in constant evolution, much like the continuous rotation of a machine’s components, rendering the creative process irreversible from one era to the next. Within this ideological shift, a dialogue between the contemporary and the conventional emerges in the context of the Louvre, forming the shared vision of the exhibition. In an increasingly diverse global culture, the exhibition ROTOR – The Carrousel du Louvre Contemporary Art Exhibition 2024 presents a collective image of the current era, placing art within a broader context. It aims to re-examine the fundamental essence of art, challenge prevailing conceptions and modes of appreciation in the public sphere, dismantle hierarchical systems, and open up new possibilities. The term ‘ROTOR’ also suggests how new waves and cyclical methodological shifts give rise to emerging genres, emphasising that only through forward movement can we perceive an unpredictable future.
ROTOR
Curated by Nelson Qin
Presented by London Art Collective (LAC)
Le Carrousel du Louvre February 2024
The 3rd international art exhibition ArtEvol, 2024
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ArtEvol 2023 On Purple: The Purpose of Hue The 2nd International Art Exhibition
On Purple: The Purpose of Hue is an experimental exhibition that explores how a single colour, purple, can function as both limit and possibility.
Instead of assigning a theme, the exhibition sets one condition that every work must include purple. Artists responded freely, some through dense saturation, others through trace gestures or layered hues. The result is not a unified aesthetic but a field of difference shaped by a shared chromatic rule. Using hue, saturation, and value as curatorial coordinates, On Purple: The Purpose of Hue invites audiences to navigate how colour moves beyond surface, becoming method, mood, or resistance. Hue sets the boundary. Saturation signals intent. Value reveals distance, opacity, or intensity. To challenge the dominance of the white cube, the curatorial team collaborates with Berlin-based artist Lizz Lunney to renovate the exterior façade of the entire building. This dynamic partnership has given rise to a ten-metre thematic installation outside the exhibition space. The conventional boundaries of artistic expression are set to be redefined through this collaborative effort between the curatorial team and Lizz Lunney, bringing an innovative vision into being. This is not a study in symbolism. It is a space to discover how artistic decisions unfold under constraint and how even the narrowest prompt can open new ways of seeing.
On Purple: The Purpose of Hue
Curated by Nelson Qin
Presented by London Art Collective (LAC)
189 Piccadilly, London September 2023
The 2nd international art exhibition ArtEvol, 2023
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ArtEvol 2022
Neo-Space is a starting-point exhibition that offers emerging artists a space in which to test and present new work.
It responds to the narrowing opportunities faced by early-stage practitioners, those whose voices often fall outside institutional visibility not because of a lack of quality, but because their work resists categorisation. The exhibition does not seek to define what is new. Instead, it provides a platform where new ideas, forms, and materials can be tested, shown, and shaped. Some works are unresolved, some are raw, and many challenge assumptions about what finished art should look like. Neo-Space is not a display of conclusions. It is a space for risk, for first steps, and for showing what might emerge next. It focuses on early-stage practices, voices often overlooked by institutional systems. These works do not follow established styles or categories. Instead, they emerge through risk, resistance, and improvisation. Neo-Space invites us to reconsider how artists are seen and what it truly means for something new to come into view.
Neo-Space The 1st International Art Exhibition
Neo-Space
Curated by Nelson Qin
Presented by London Art Collective (LAC)
Soho, London September 2022
The 1st international art exhibition ArtEvol, 2022
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In September 2025, London Art Collective will presented the large-scale international group exhibition ArtEvol 2025: Voices from the Undefined . The exhibition focused on emerging artists who are shaping the visionary future of contemporary art, collectively examining the motivations and emotional tensions encapsulated by ‘Evol’, which signifies evolution in the context of today’s art landscape. The title ‘ArtEvol’ metaphorically represents an emergent artistic movement in a state of flux, formed in the tensions between technology and the body, the self and the other, the real and the fictional. It centres on practices that shift across disciplines, identities, and cultural forms, offering open-ended responses to the complexities of our time. These artists do not seek validation within established systems but continue to voice themselves from ‘undefined’ positions. ArtEvol: Voices from the Undefined aims to activate a dialogical framework that allows these emerging practices to be genuinely heard and equally seen within mainstream institutions, not as exceptions, but as possibilities for the future itself. ArtEvol: Voices from the Undefined is curated by Nelson Qin and organised by London Art Collective (LAC), with a jury panel composed of curators, artists, critics and scholars who evaluate the works based on their experimental spirit and contemporary expression. The exhibition aims to present emerging creative languages that remain undefined in response to an ever-changing world. It calls not only for fresh visual experiences, but also for a reimagining of the relationship between art and reality.
ArtEvol 2025 THE EXHIBITION
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ArtEvol 2025: Voices from the Undefined looks at artistic practice as something always in the making. It grows out of the tensions between technology and the body, the self and the other, the real and the fictional. The word ‘EVOL’ suggests reversal and renewal, with art reshaping its own possibilities in moments of uncertainty and change. Drawing on ideas from cybernetics (feedback, adaptation and open systems), the works in this exhibition show how artists respond to their environments and to the times they live in. The participating artists in ArtEvol 2025: Voices from the Undefined work fluidly across disciplines, identities and media. They speak from undefined positions, as they do not seek validation from established systems of recognition. In doing so, they highlight how the value of the ‘new’ lies both in the process of becoming and in the ideas it generates. ArtEvol 2025: Voices from the Undefined creates a dialogical space where these emerging practices can be genuinely heard and equally seen, not as exceptions but as possibilities for the future itself. Curated by Nelson Qin and presented by London Art Collective (LAC), the exhibition brings together artists whose work is forward-looking and socially engaged. Their practices refine what art can do, engaging thoughtfully with the complexities of today’s world. The exhibition also draws attention to voices often overlooked, from conflict zones, marginalised communities and regions beyond the art world’s centre. Together, their works affirm art as a space for resilience, connection and imagining futures beyond imposed boundaries.
ArtEvol 2025: Voices from the Undefined
Presented by London Art Collective (LAC)
Curated by Nelson Qin
Saatchi Gallery, London September 2025
The 5th international art exhibition ArtEvol, 2025
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ArtEvol 2025 Installation Process
Installation process for ArtEvol 2025: Voices from the Undefined at Saatchi Gallery, London, 2025
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ArtEvol 2025 Exhibition View
Exhibition view for ArtEvol 2025: Voices from the Undefined at Saatchi Gallery, London, 2025
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AWARD
In the annual themed exhibitions held by the London Art Collective, dedicated awards are set up to encourage artists who perform outstandingly in the exhibitions. As an institution, LAC believes that recognition and motivation can inject new impetus into the growth of artists. Therefore, the awards symbolise the milestone achievements of artistic practice and represent LAC’s long-term commitment to the future potential of artists. At this year’s ArtEvol 2025: Voices from the Undefined exhibition, LAC remains committed to exploring artistic practices with outstanding creativity and forward-thinking perspectives. To further encourage artists to demonstrate breakthroughs in interdisciplinary storytelling and identity exploration, this year’s exhibition established two awards, namely the ArtEvol Award 2025 and the Audience Choice Award. The ArtEvol Award 2025 is selected by the ArtEvol 2025 Committee based on artistic innovation, research depth, and presentation of works, to recognise artists who have put forward new perspectives and methods in the contemporary art context. The winners are Curtis Holder, David Aston, and Joan Horrach. The Audience Choice Award is determined through voting by the on-site and online audiences of the exhibition, highlighting the importance of public voices and identifying artistic expressions that resonate widely. We extend our thanks to all viewers who participated in the voting. Curtis Holder has successfully won the Audience Choice Award. The selection outcomes of ArtEvol 2025 are the result of the collective efforts of numerous contributors. We would like to thank all artists, audiences, partners, and supporters for their participation and trust. We look forward to seeing these exploratory artistic practices continue to grow, break boundaries and bring new ideas and possibilities to the future development of contemporary art.
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ArtEvol AWARD 2025
The ArtEvol Award is presented to works that exemplify conceptual clarity, intellectual depth and artistic resonance. Reflecting the ethos of ArtEvol, it recognises artistic practices that shape and advance the discourse of contemporary art, affirming both emerging and established artists whose work demonstrates experimental language and a forward-looking spirit. Now in its fifth edition, the ArtEvol Award 2025 reflects a rigorous process of curatorial dialogue and critical review. Guided by the perspectives of the Jury Panel, the final selection was made by Nelson Qin, Chief Curator of the London Art Collective and curator of ArtEvol 2025: Voices from the Undefined . The decision embodies the exhibition’s curatorial vision, recognising artistic practices that most profoundly articulate the ideas and questions at the heart of this year’s edition.
The ArtEvol Award 2025 was presented to Curtis Holder, David Aston, and Joan Horrach, whose works speak from positions that resist categorisation, revealing new ways of understanding humanity, technology and the lived body. Together, their practices embody the spirit of this year’s theme, articulating resilience, connection and imagination beyond imposed boundaries.
Curtis Holder ⟶ p.80 Dance of Eshu, 2024 Graphite pencil on paper 150 × 460 × 5 cm
David Aston ⟶ p.86 Oracle II (from The New Oracles Series) , 2024 Mixed media 38 × 42.5 × 29.5 cm
Joan Horrach ⟶ p.138 Somehow, Elsewhere No.4 (Room 2), 2025 Video performance 23 min 45 sec
ArtEvol Award 2025 Recipients
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140 × 160 × 3.5 cm 4
AUDIENCE CHOICE AWARD
Kirin Crooks ⟶ p.150 Yang Mucen , 2025 Charcoal and acrylic on canvas
The Audience Choice Award was determined through a public vote held during the exhibition at Saatchi Gallery. This award celebrates the work that resonated most strongly with audiences, underscoring the importance of public engagement in shaping artistic dialogue and affirming the vital exchange between artists and viewers at the heart of ArtEvol’s curatorial philosophy. The Audience Choice Award in 2025 was presented to Curtis Holder, whose work captured the collective imagination through its emotional immediacy and depth of expression.
122 × 152 cm 5
Michael Slusakowicz ⟶ p.204 My Beautiful Coffin , 2025 Oil on canvas
150 × 460 × 5 cm 1
Curtis Holder ⟶ p.80 Dance of Eshu, 2024 Graphite pencil on paper
189 × 180 × 4.5 cm 6
Bozorgmehr Hosseinpour ⟶ p.68 Untitled , 2025 Acrylic on canvas
100 × 100 × 3 cm 2
Richard P Jones ⟶ p.236 District Line #2, London , 2024 Reconstructed high-speed video on brushed aluminium
220 × 200 cm 7
Ndidi Emefiele ⟶ p.284 Joy Bath , 2022 Mixed media on canvas
Iseult Pigot ⟶ p.122 It All Comes Undone , 2025 Mended and embroidered textile Each 77 × 54 cm, 92 × 54 cm, 80 × 57 cm 8
86.5 × 66.5 × 21.5 cm 3
Edward Raneri ⟶ p.90 Shower (1) , 2025 Pigment print on acrylic, resin, glass, wood
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ArtEvol 2025 Audience Choice Award Voting Process
Audience Choice Award voting process for ArtEvol 2025: Voices from the Undefined at Saatchi Gallery, London, 2025
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ArtEvol 2025 FEATURED ARTISTS
ArtEvol 2025: Voices from the Undefined brings together works by artists selected from thousands of submissions to this year’s exhibition open call. Their works have undergone three rounds of rigorous evaluation by the ArtEvol 2025 Committee and the London Art Collective curatorial team, progressing from longlist to shortlist and ultimately emerging as finalists for the exhibition. Due to the higher number of submissions this year, the selection process has been more competitive than ever. The artists featured in this exhibition represent some of the most relevant and critically engaged artistic practices, which the ArtEvol 2025 Committee and the London Art Collective curatorial team consider to be closely aligned with the pressing social issues of our time. They also give voice to perspectives the public needs to hear–expressions that remain open, evolving and not yet fully defined. We extend our sincere thanks to all participating artists whose contributions have enabled the exhibition to respond more fully to contemporary contexts and urgencies. It is precisely through their practices that this exhibition gains its distinctive significance and necessity. Special thanks to the invited artists from gallery rosenfeld and to the artists from the Young Artist Project for participating in this exhibition. Their involvement has broadened the scope of the exhibition.
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ArtEvol 2025 / Alena Alice
HOPE: Spotlights , 2025 Acrylic on canvas 152.4 × 203.2 cm
Alena Alice is a Slovakian-born British artist based in the West Midlands. Alice translates the fragmented noise of modern life into abstract compositions, echoing digital glitches and distortions. Inspired by communication errors, signal breakdowns, and broadcast interference, Alice reimagines disruption as a new visual language where error becomes form and chaos becomes rhythm. Working with acrylic paint, Alice constructs geometric sequences through layered lines and rhythmic brushstrokes. The resulting patterns reference white noise, visual static, and algorithmic systems, while maintaining improvisation and tactility. Personal experiences of illness and recovery, alongside a professional background in healthcare, inform Alice’s practice and underpin the concept of the six Cs of the Artist: creativity, collaboration, compassion, courage, commitment, and competence. These values shape both the making process and engagement with audiences.
Artwork Introduction Communication’s complexities, with its transmissions, disruptions and transformations, form the core of Alena Alice’s practice. These disruptions generate errors which, rather than appearing as flaws, become opportunities. Unintended patterns, broken signals and misalignments create alternative structures of beauty and narrative. This field of disruption provides the foundation of Alena’s aesthetic, reimagining original messages through colour, repetition and coded form. In this transformation, light, optimism, and renewal emerge, qualities that shape each finished piece. The large-scale painting HOPE: Spotlights unites multiple canvases into a single composition. Each panel is built and then broken down through processes of struggle and reinvention. This layered construction mirrors the chaos of communication and the clarity that can rise from it. Circular forms and bright accents act as symbols of focus and positivity, functioning as ‘spotlights’ within the surrounding noise. Process and concept remain central to Alena’s painting, yet the work stays intensely visual. The medium’s versatility supports endless variations and interpretations. Each piece invites viewers to pause, decode and connect, fostering an active encounter. Acrylic on canvas enables dynamic layering of textures, colours and shapes evolving throughout production, reflecting transformation both visual and conceptual. Painting becomes a fluid vehicle for exploring structure, disruption and resolution.
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ame.textile
ArtEvol 2025 / Amelia Peng
Inner Peace , 2023 Textile soft-system 1000 × 180 × 10 cm
Amelia Peng is an artistic designer and textile innovator working at the intersection of creativity, advanced materials, art and technology, transforming ideas into immersive experiences. Peng received the Best Talent Designer Award in 2007 and presented Time Lapse at Taipei Art Festival 2017. Peng has collaborated with leading brands, advancing fabric research, visual art and digital design. During a Master’s in Textiles at the Royal College of Art, Peng pioneered Spatial Music-Mind-Textiles concepts, weaving empathy, sustainability and visionary design. AME d’ART continues to craft works infused with kindness and faith in God’s will.
Royal College of Art in collaboration with Specialist Modelling Group Foster + Partners at London Design Biennale 2023
Artwork Introduction A reinterpretation of the London Design Biennale 2023 Inner Peace Pavilion unfolds within the meticulously reconstructed Nelson Staircase, rebuilt after the Second World War. Inner Peace enacts a metaphorical soul purification, offering a unique rite of passage towards a new era of universal empathy and highlighting the wisdom of God and the generosity of Earth. At the heart of the Music-Mind-Textile is an enchanting waterfall-like installation that flawlessly merges original musical compositions with innovative smart textiles. By allowing audience emotions to shape the visual and auditory experience, the textile traverses the installation and is programmed to tune with the collective emotional state, projecting public feelings through its colour fluctuations. This harnesses the evocative power of music and immersive multisensory textiles, taking the audience on a transformative journey of rediscovering inner peace and heralding the future of the mind.
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Anastasia Karageorge is an Australian artist based in the United Kingdom. Karageorge engages with female subjects drawn from the European painting canon, reinterpreting figures once depicted as passive into empowered narrators of their own stories. While rooted in art-historical reference, Karageorge’s practice remains personal, shaped by intimate experiences, memories and emotional resonance. Through appropriation and subtle visual additions or symbolic gestures, Karageorge shifts narratives around the subjects, granting them agency and renewed presence. Karageorge’s work seeks to reclaim female visibility in art history while also questioning whether such reclamation can meaningfully disrupt the persistence of historical inequalities.
ArtEvol 2025 / Anastasia Karageorge
Lady with Meat Headdress , 2025 Oil on canvas, embroidered textile 23 × 13.5 × 6 cm
Artwork Introduction Reimagining Marie-Guillemine Benoist’s Portrait of a Negress (1800), a painting long debated for its contradictory treatment of its unnamed sitter, Anastasia Karageorge uses collage and parody to reconfigure the original fabrics and adornments into unlikely objects, shifting the resonance of the subject’s presence. By unsettling the familiar, the work opens space for reflection on how women have been represented, reframed and reimagined across art history. The frames, built from layered nylon, beads and cushioned surfaces, create a plush decorative skin. These materials blur craft and ornament, recalling jewelled ‘portrait-objects’ once kept as intimate tokens, while reframing the act of looking and allowing the frame itself to emerge as an active part of the work.
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arminamirianart
ArtEvol 2025 / Armin Amirian
Protesters , 2020 C-type print 66 × 101.6 cm
Armin Amirian is a self-taught photographer and artist. Amirian grew up in Isfahan, a city renowned for its rich artistic and architectural heritage, long celebrated as the birthplace of many influential Iranian figures. Amirian’s childhood and teenage years were marked by exploration across genres and mediums of art, while simultaneously pursuing studies in Physics. The turning point arrived in early adolescence with the introduction of a camera, which transformed the act of looking into a defining artistic practice. Amirian’s work reflects inspiration from the cultural legacy and the contemporary struggles of his homeland, creating dynamic interpretations of collective experience.
Artwork Introduction Protesters present a frozen image from wide street protests of tens of thousands of women during 8–12 March 1979 (International Women’s Day), less than a month after the Islamic Revolution in Iran. These protests, mostly led and marched by women, were for the equal rights women had with men up until then, which the newly founded dictatorial regime started to take away immediately after coming to power by announcing and enforcing laws such as the compulsory hijab law. Protesters belong to the hICEstory art series created in 2020 after the world started to face the global disaster of the COVID-19 pandemic, when quarantine became widespread. Within that despair and loneliness, the series was developed as if the artworks themselves were in isolation. Images from significant events were placed in water, frozen into special ice forms and then photographed.
These works are like the world we live in, frozen but still breathing. They represent what is behind the ice, a surface that could melt away or break at any time.
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_bbblob
ArtEvol 2025 / Bbblob
Flutter Flare , 2025 Acrylic on shaped canvas, woodcut 70 × 120 × 5 cm
Jacelyn is a visual artist and designer from Singapore, currently based in London. Working under the moniker Bbblob, she explores harmony in form and colour through a practice that spans painting, sculpture, textiles, and murals. Her compositions are playful and intuitive, bringing shapes into dialogue across media. Bbblob holds an MA in Painting from the Royal College of Art and has exhibited internationally at White Conduit Projects , London and Uprise Art , New York. Her works have been selected for the Royal Academy Summer Exhibition 2023 and Singapore Art Week 2021. Alongside exhibitions, Bbblob has been commissioned to create murals for brands including Capitaland and YouTrip.
Artwork Introduction
Flutter Flare presents a shaped wall piece exploring balance and movement, inspired by the cycle of natural systems. Crafted with woodcuts, the work is shaped and assembled, reinterpreting natural forms into a playful composition of colour and rhythm. Within the shaped work, layers of colour intersect to create an illusion of depth, playing with both the sculptural element of the relief and the painted surface. ‘Flutter’ evokes the movement of leaves or feathers fluttering and dancing in the wind.
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bozorgmehrhosseinpour
ArtEvol 2025 / Bozorgmehr Hosseinpour
Untitled , 2025 Acrylic on canvas 189 × 180 × 4.5 cm
Bozorgmehr Hosseinpour is a prominent caricaturist, cartoonist and painter whose work spans solo and group exhibitions in Tehran and Paris, including A Caricaturist in Naser-o-din Shah Harem at Silk Road Gallery and A Cartoonist inside a Royal Harem at Nicolas Flamel Gallery. Exhibitions such as Against Terrorism in Paris and Kajtabi (Crookedness) in Tehran highlight a satirical and socially engaged practice. Hosseinpour’s current work encompasses caricature, painting and live performances, blending humour with cultural commentary. Performances, such as live painting with musicians at the Great Hall of the Ministry of Interior, integrate visual art with music and social themes. As founder of the Chegouneh School of Draw and contributor to publications like Hamshahri, Hosseinpour continues to teach, create and exhibit, informed by extensive experience in editorial roles and international art juries.
Artwork Introduction
Untitled reflects an ongoing exploration of exaggerated human interactions and cultural narratives, inspired by life experiences, sketching and observing people in Iranian cafés, which serve as the main subject of the work. This theme, evident in live performances and satirical illustrations, is expressed through oversized figures and vibrant colours that suggest an intentional distortion, possibly critiquing power dynamics or intimate relationships captured during those café moments. The indoor setting with a starry window hints at a blend of reality and imagination, reflecting the lively yet dreamlike atmosphere of these spaces. The work aims to provoke thought and dialogue, drawing from editorial experience and deep engagement with café culture.
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chantellechong_
ArtEvol 2025 / Chantelle Chong
XXX_03 , 2024 Steel, latex 100 × 65 × 65 cm
Chantelle Chong is a Singapore-born multidisciplinary designer based in London. Chong works fluidly across digital and physical media, with a practice spanning installation, drawing, animation, film and object-making in both two and three dimensions. At the intersection of architectural language and technology, Chong explores the soft boundaries of the body and the nuances of lived experience.
Artwork Introduction
XXX_03 examines the body as a site of control, transformation and desire, shaped by the pressures of self-idealisation and the social codes that enforce them. A latex form, sensuous yet synthetic, is stretched, pierced and constrained within an unyielding steel frame. Its hourglass silhouette evokes the tension between submission and resistance, confronting the violence of internalised ideals. Alluding to historical mechanisms of bodily control used to discipline, disguise and eroticise, the work interrogates how identity is constructed through systems of body fetishisation, self-surveillance and self-design. Positioned low to the ground, the sculpture extends an invitation to kneel before it and partake in its deformation by pulling the tension cables, offering a gesture of release from its contorted form.
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conformity.sucks
ArtEvol 2025 / conformity.sucks
Alternate Articulation 3D Screenprint , 2025 Screenprint on layered glass 44 × 26 × 7 cm
Conformity.sucks is the artistic name of Danica Dsouza, whose practice explores human existence in the wake of biological extinction. Having worked for over a decade in the fashion industry as a designer, pattern cutter and maker, Dsouza turned away from fashion to pursue fine art as a means of addressing grief and eco-anxiety. Dsouza’s practice evolves across diverse media, including textile, wood, glass, bio-material experimentation, drawing and traditional printmaking, producing objects that grasp at beauty in the face of death and loss. These works invite observers to look beyond screens and confront the disappearance of natural wonders. Artworks function as memento mori, reflecting on mortality and questioning the desire to play God, while expressing grief rooted in biodiversity loss, existential awakening, cultural identity, solastalgia and shifting notions of self.
Artwork Introduction
Alternate Articulation 3D Screenprint is an experiment employing two-dimensional fabrication to explore the visual perception of the three- dimensional phenomenon. In the age of VR and AI, this piece pushes for creating visual illusions that tangible materials can create, seen with the naked eye, thus challenging the viewer’s perception of reality.
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