GROUP EXHIBITION

Soft Spot focuses on moments of yielding, where form loosens, surfaces bend and bodies twist, fragment and multiply. What emerges is not collapse but a charged instability, where forms give way and in doing so, become newly legible. Bringing together works that remain in states of transition rather than resolution, the exhibition explores the potential of malleability across material, image and figure.

The second iteration features several new works created especially for the exhibition, including two new paintings by Mary Ramsden, ahead of the artist’s solo exhibition at Pilar Corrias Conduit Street opening this September. Landscapes blur and are reimagined across new paintings by Rachel Rose and Georg Wilson, both of whom will feature in a group presentation alongside Sholto Blissett at Frieze London 2026. Vivien Zhang converges ‘Butterfly’ map projections with uncanny patterning resembling the Painted Lady Butterfly, distorting familiar motifs and generating an alternative landscape in her latest painting. Across the exhibition, the artists explore states of softness and permeability, inviting viewers to consider form not as fixed but as continuously unfolding.

Questions of bodily transformation are central to works by Lina Iris Viktor and Tschabalala Self. Viktor’s bronze and clay sculpture Soul Vessel I (2024), previously exhibited as part of the artist’s 2024-25 exhibition at London’s Soane’s Museum, merges organic and symbolic forms into a vessel-like presence that appears both ancient and in flux. Self’s painting Desire similarly foregrounds the mutable body, presenting a fragmented figure through which the artist explores identity and selfhood. Sound of a Seashell, 2026, an abstract painting on paper by Sabine Moritz is featured ahead of the artist’s first UK institutional exhibition at the Garden Museum this October.

A comparable sense of instability animates the paintings of Ragna Bley and Carrie Moyer. Bley’s colours vacillate over the surface and seep into the canvas, intermixing like currents and creating infinite possibilities of grouping and regrouping form. The gallery will host a solo exhibition by the artist at its Conduit Street space this November. In the work of Carrie Moyer, spatial perception is deliberately destabilised. In Lavender Lips & Flying Ships, 2025, freeform gestures are blended with structured arrangements, resulting in a composition that continually shifts between depth and flatness, solidity and dissolution.