Painting / Drawing
Installation
Installation
Photography
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Ḥ u ḍ ūr al-Ghā’ibīn—‘Presence of the Absent’
The Entropic Pull of Matter over Memory
Our Things I Hold Dear and Rotten
Blood on Broken Wings
Peinture à l’essence, household gloss, gesso, pigment and dry media on canvas Triptych, each 230 × 152 cm
Embroidery on Egyptian cotton 400 × 400 × 400 cm
Mixed media 400 × 300 × 150 cm
Mixed media, scanography, digital print Dimensions variable
2025
2025
2024
2025
marykosphotography Maryna Kostiukevych
kinnearmartin Martin Kinnear
stitch.their.names.together Mary Evers
marylynmolisso Marylyn Molisso
Maryna Kostiukevych is a Ukrainian photographer based in London, UK. With a background in animal behaviour studies, she imparts a distinct viewpoint to her photography, beautifully and powerfully portraying the emotions and characters of her subjects. Being a neurodivergent photographer, she is committed to crafting emotionally resonant images that narrate stories and stir feelings. This series of macro photographs and analogue mixed media panels invites the viewer to step so close to Ukraine’s war-shattered bat colonies that the boundary between documentary and abstraction blurs. Bats, already burdened by myth as ‘bloodsuckers’, become emissaries for every life-form caught in the blast radius. By focusing on millimetres of skin rather than kilometres of frontline, the series reframes the war as an intimate assault on biodiversity, compelling audiences to extend empathy beyond species and scale.
Martin Kinnear is a disabled, working-class painter from Burnley. Trained at the RCA, Kinnear works with figuration to collapse figure and ground, creating layered paintings that resist resolution. Rooted in Modernist ambition yet informed by lived experience, the practice treats painting as an act of resistance—foregrounding ambiguity, materiality, and slow looking to reimagine figuration as a perceptual event rather than a likeness. The work is a raw triptych that resists ideals of beauty and bodily perfection. Built through layered, fractured figuration, it embraces entropy, ambiguity and material breakdown, challenging fixed concepts of self-image. The work repositions figural painting as a site for reflection on disability, ageing and shifting beauty standards. Unresolved surfaces confront the viewer with the instability of identity and perception, prompting a slower, more compassionate gaze.
Mary Evers is a Dublin-born artist and activist whose practice draws on Palestinian ‘tatreez’ embroidery, first taught to her in childhood by a caregiver. Reviving this skill in response to the war in Gaza, Evers stitches the names of the deceased into tapestry panels, transforming thread into remembrance. Through Stitch Their Names Together, she creates collective hand-embroidered memorials of solidarity, healing and resistance. Ḥ u ḍ ūr al-Ghā’ibīn—‘Presence of the Absent’ is an installation of 200 hand-sewn panels. Three edges remain raw, while a sewn casing at the top holds a bamboo or aluminium dowel. The panels are arranged in scattered rows, either single or double height, with the lowest panels reaching eye level. Ample space is left around each set so that viewers can walk through and view the pieces from both the front and back.
Marylyn Molisso is a queer artist whose installations and sculptures draw on found and personal materials to explore mental health, grief and memory. By skewering, binding and reconfiguring old works and belongings, the practice reflects on excess, impermanence and the fragile inscriptions of value and meaning within the overlooked debris of everyday life. The installation gathers old textile works created after the death of Marylyn Molisso’s father, alongside the hoarded objects he once kept—items too difficult to discard and long hidden in the studio. Raw and unsensitised, the work bursts into the gallery as a living extension of that private space, filled with pain and love, violence and tenderness. Once displayed, the objects and textiles return to their vacuum bags and suitcases, reinforcing cycles of exposure and concealment.
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