#marlow-moss

#marlow-moss

"I love the range in this booth, from large-scale ceramic totems to more intimate neon paintings. I'm always impressed by the artists Freeburg represents and the clarity of her program's mission."

Sabahs are made entirely by hand from 100% leather in either Texas or Turkey—two regions with distinct yet deeply rooted relationships to the material. The result is a shoe that varies subtly from pair to pair, even within the same size.

This idea has been on my mind for some time, shaped by observing the political situation not only in Bulgaria but more broadly. In Bulgaria, we are going through a profound political crisis.

Hackney Art Week will take place from June 4 to 14, featuring 60 artists and creatives across 50 venues in the borough, including Dalston and Clapton.

Originally known as Sneads Court on John Rocque's map of London in 1746, the area was wider and more of a courtyard than an alley. Over time, it was renamed Hertford Place and later Yarmouth Mews as the neighborhood evolved into larger hotels and grand houses.

My connection with Fahrelnissa Zeid is incredibly personal. I was a painting student of hers in my mid-teens when I lived in Jordan, and she was a powerful presence in my life at that time.

Art UK has taken it as its mission to digitally unite one million artworks from 3,500 institutions. This free-to-all portal connects everyone with the UK's public art collections.

I see myself first and foremost as a weaver working at the intersection of craft and technology. As an Angeleno, I grew up learning how to weave in the Wixárika tradition of my matriarchal bloodline by watching my mother and my grandmother.

From unassuming hunks of Carrara marble and limestone, Matthew Simmonds carves realistic, miniature gothic cathedral arches, stairwells, and colonnades. Often based on architectural details of real places, such as cities around Tuscany and Germany's Bamberg Cathedral, the sculptures portray intimate details of corners, vaulted ceilings, arcades, and stairwells that can sometimes be peeked through additional apertures.

Geddis' sculptures evoke an enigmatic tension between identity and glyph, teetering between abstraction and figuration like retrofuturistic icons, reflecting his diverse cultural influences.

The Eski.Sub draws inspiration from the visual language of Brutalist architecture and the cultural atmosphere of UK grime music scene. The project examines the relationship between design, urban context, and emotional listening experiences, positioning the loudspeaker as both an audio device and a spatial object.

The Limited Space' series is built around the idea of a figure that has outgrown its space. Through exaggerated proportions and sculptural silhouettes, the body appears too large for the environment that continues to constrain it. Architectural elements and imposed barriers function as abstract limits, pressing against the figure and revealing tension through scale, weight, and posture rather than narrative.

Fiona Twycross, the heritage minister, is to be congratulated for finally giving London's Southbank Centre Grade II listing (Campaigners welcome long overdue' listing of brutalist Southbank Centre, 10 February). I remember being shocked when I first saw it in the 1960s, but it has become a remarkable symbol of the zeitgeist. Its grey concrete and its childlike composition together express the fatalism and despair of a nation in economic and political decline.

In many ways working in the tradition of Kazimir Malevich and Josef Albers, his compositions employ a language of squares and rectangles known as "Cells" and "Prisons," connected by bold lines called "Conduits." Together, these geometric and linear arrangements tap into the inherent geometry that structure reality, and conceptually refer to the construction of everyday life, both public and private as well as physical and psychological.

London's Mosaic Rooms is reopening on 18 February after a year-long refurbishment, with new facilities, a new charitable status and a new director. But the organisation's focus, says its director Pip Day, remains the same: art and culture from the Arab world and beyond. Since the Mosaic Rooms launched in 2008 it has been a consistent platform in the UK for major artists from the Arab region, such as Heba Y. Amin, Sandi Hilal and Alessandro Petti, and Mohammed Omar Khalil.

CONDO WEEKEND BEGAN in the same way that all good British rom-coms, or Martin Amis novels, do: walking against the wind, en route to an oversize redbrick Victorian house in Earls Court, a spot that my press invitation had unabashedly advertised as being located in Notting Hill, but is an easy two tube stops away. This was the "standing" dinner to celebrate Arash Nassiri's "A Bug's Life," newly open at Chisenhale Gallery, in a renowned collector's home.

In the story of art history-the art and artists, movements and trends-a select number of galleries have played a defining role in the evolution and trajectory of art itself. Among them, the Mayor Gallery in London is surely one, as it has maintained a position fostering and promoting some of the most significant developments in art for an astounding 100 years.

The 10ft sculpture depicts a confident woman of colour striding in a blue dress and heels and is meant to represent a contemporary everywoman that 'many can relate to'. She is not an idol to venerate or a historic figurehead to commemorate. She is a woman striding forward into our collective future with ambition and purpose. She is a Londoner who represents the city's spirit.