Sculpture
Painting / Drawing
Photography
Installation
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Continuous_Discrete #03
Dadaji and Naniji Diptych 2025
Semi-Detached
2024 Haori
Steel and 3D print 135 × 83 × 20 cm
Oil paint and graphite on recycled metal Each 142 × 40 cm
C-type print 39.6 × 59.4 cm
Silicone, pigment, thread, foam, wood, acrylic rod, metal, rope 190 × 15 cm
2025
2024
Meenakashi Ghadial
megumiohata Megumi Ohata
maximilianjstanley Maximilian Stanley
megmosleyartist Meg Mosley
meenakart
Meenakashi Ghadial is a London-based artist working primarily in oil on metal. Ghadial creates fragile representational works that explore themes of marriage, tradition, migration, grief, intimacy and sexuality. Informed by her Punjabi and lesbian identities and the wider South Asian diaspora, her practice weaves archival and contemporary materials into narratives of intergenerational experience and belonging. Dadaji and Naniji Diptych portrays Meenakashi Ghadial’s only surviving grandparents, reflecting on familial distance as a Punjabi lesbian. The works honour a relationship that exists while mourning what cannot be realised. Considering how each grandparent’s life has been shaped by gender, the diptych expresses anger at the limited autonomy of women bound by arranged marriages, asking what identities might have emerged beyond prescribed roles.
Maximilian Stanley is a London-based artist and researcher. His practice investigates digital aesthetics that emerge from the interplay of algorithms, data and noise, challenging assumptions of mechanical precision. Working across technologies and media, Stanley creates artworks through iterative feedback processes, from translating images into welded sculptures to constructing loops between AI models, scanners and printers. Continuous_Discrete #03 is part of a series exploring the tension between computational rigidity and the analogue continuity of lived experience. Generated by a recursive algorithm that processes and re-feeds random data, the work evolves until its output resonates with the system’s architecture. Materialised as 3D-printed cubes within a welded steel grid, it offers a physical translation of data and its transformation.
Megumi Ohata is a London-based interdisciplinary and special effects artist. She creates sculptural installations that combine wearable artificial-skin textiles with hyper- realistic, life-sized forms developed through innovative SFX techniques. Her practice explores identity politics, trauma and posthuman philosophy, drawing on folklore and symbolic imagery to question the fragile boundaries between the human and the non-human. beings from Japanese folklore. The work explores cultural heritage alongside posthuman philosophy, emphasising the symbiosis between humans and non- human entities. Extending beyond traditional aesthetics, the piece forms interactive, wearable textiles that foster self-acceptance and a heightened awareness of the skin. Haori reinterprets the historic Hyakkiyakou Emaki scroll as tattoos that weave narratives of Yokai—ethereal
Meg Mosley constructs emotional landscapes through a diverse practice combining video, performance and photography. With meticulous attention to set design and costume, she creates narratives that examine mainstream desires and societal norms surrounding the female experience. Semi-Detached is part of a series exploring the female experience through the lens of domestic life in a recently vacated 1960s semi-detached home. Informed by research, Mosley redesigns existing spaces and introduces sourced objects to reflect the era, giving each image a nuanced authenticity. Through this reconstruction, the work invites viewers to consider the subtle narratives embedded in the home and the atmosphere left behind in spaces shaped by everyday life.
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