Sculpture
Painting / Drawing
Installation
Painting / Drawing
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GHOSTS 2025
Everywhere, Briefly 2025
And Furthermore 2025
John 2025
Ceramic, glaze, velvet, NFC chip 35.6 × 22.9 × 22.9 cm
Oil on canvas 200 × 300 × 5 cm
Mixed media 378 × 1405 × 1395 cm
Acrylic on canvas 190 × 190 cm
Elska Leeloo Franzen elskaleeloo
Eric Zhicheng Fei zhichengfei189
Emma Louise Moore emmalouisesculpture
Emily Macduff emilymacduffstudio
Elska Leeloo Franzen is a British-Swedish artist based in London. Her sculptural work exists between the ancient past and a dystopian future, presenting reality as a malleable form symbolising transformation. Combining traditional techniques with experimental media, Franzen explores how interconnected materials weave narrative and evoke mysticism. Working primarily with ceramics, she examines how mythology, constraint and digital systems shape identity, resilience and imagination. GHOSTS is drawn from a childhood buried in computer games and Swedish fairy tales, but its hidden functionality was designed in response and retaliation against the chronic health condition Endometriosis and years of misinformation, dismissal and misdiagnosis at the hands of specialist doctors. It serves as a symbol of female rebellion and a container for the experimental symbiosis of physical and digital mediums.
Eric Fei is a multidisciplinary artist based in London and Shanghai. Working across painting, performance, film and installation, Fei explores how identity is shaped through migration and mediated connection. Drawing from his experience as an international student, his work reflects the everyday lives of the Chinese diaspora, blending image and narrative to capture emotional textures of distance, belonging and digital intimacy. John reflects on a quiet evening in a student accommodation, where a conversation with a long- time friend unfolds around music, study abroad, and indecision. Between reflections on high school days, talk of returning home, and his tendency to overthink small choices, a portrait of hesitation and distance emerges. Through this intimate exchange, the work captures the complexity of diasporic youth navigating memory, friendship, and the uncertainties of belonging.
Emma Louise Moore’s practice spans performance and sculpture. Her work explores the intersection of physical labour, ritual and the absurd, using heavy materials such as marble and stone. In collaboration with astrophysicists, Moore creates solstice-aligned sculptures that evoke ancestral memory and mark seasonal time. And Furthermore presents a 1986 Nissan Micra turned upside down, balanced on 5,000 ball bearings so the dense object spins and dances with ease. The work expands Moore’s focus on the humorous absurdity of labour, abandoning modern machines in favour of traditional, often impractical methods of movement. Dense objects, once logistical challenges, become performative rituals through robotic systems, mirrored surfaces and public participation.
Emily Macduff is a Scottish artist based in London whose practice combines classical training with intuitive abstraction. Working in thick oil on jute, Macduff explores visual simplicity, rejecting illusionistic depth in favour of surface tension. Her paintings use childlike motifs, broad colour fields and repetitive gestures to evoke emotional resonance without fixed narrative. Emily Macduff transferred small, automatic sketches into a large-scale painting that explores the tension between simple form and complex structure. The work plays with abstraction and representation, using repetitive brushstrokes as a kind of meditation in opposition to the complex chaos of daily life. Thick impasto marks on rough jute canvas create heightened texture and presence.
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