gowithYamo x Gallery Climate Coalition: Art + Climate Week
November 13, 2025
Taking place in parallel with COP30, Art + Climate Week is a collaborative initiative from Gallery Climate Coalition and gowithYamo to amplify climate action in the arts. Its programme consists of art exhibitions and other events, including talks and workshops, which encourage visitors to think both critically and openly about climate change and our place within a changing world.
Emma Stibbon: ‘Melting Ice | Rising Tides’
Cristea Roberts Gallery
23 October - 22 November
In the latest iteration of Emma Stibbon’s touring exhibition ‘Melting Ice | Rising Tides’, the artist presents a series of paintings and prints depicting the sea and the coast at Cristea Roberts Gallery. From afar, there is a high degree of realism and a photographic quality to these works. And this illusionistic quality is even more pronounced in the show-stopping 'Rock Fall’, where rocks literally break out from the drawing of the cliff face at Bideford Bay onto the gallery floor. With its extraordinary physical presence, this piece lands the gallery visitors right in the midst of the cliffs of North Devon without having to set foot outside of Central London.
As reflected in its title, the themes broached in this exhibition are melting ice, rising tides, landslides, and erosion – all natural occurrences whose rates have accelerated by human-made climate change.
The sheer force of these phenomena can be felt in the marks that Stibbon employs: dynamic brushstrokes and paint splatters, ink seeping and spreading into the paper, scratched surfaces, and deep, dark washes of paint. When you step closer, Stibbon’s works distinctly set themselves apart from photography. These marks add texture, atmosphere, physicality and dynamism, so that one can feel the power of the wave and the softness of the surf viscerally.
Stibbon clearly has incredible technical mastery across different disciplines - drawing, painting, print-making, and sculpture now too. Her approach to making is joyful, and you can sense that Stibbon has a deep respect and appreciation for the natural environments that she depicts. In fact, her works almost operate like collaborations with those environments, as she often uses materials found in situ within the final pieces: in 'Breaker' she uses ink, sea salt and Eastbourne Sea Water; in ‘Rock Fall’, she uses North Devon sourced pigments on paper and mixed media; in ‘Birling Gap’ she uses ground cliff chalk and fabricated chalk; and in ‘Ice Front’ she uses watercolour, graphite and aluminium powder.
The results are mesmerising. The freezing cold, the tempest of the seas and the precarity of the landslides all come to life within Stibbon’s artwork and nature is reverently portrayed at its most sublime: at once beautiful and terrifying.
Artist Talk at Cristea Roberts Gallery
Thursday 13 November, 6 pm
CRG will present a panel discussion with exhibiting artist Emma Stibbon; Sara Cooper (Head of Collections and Exhibitions at Towner Eastbourne); and Dr Dylan Rood (Associate Professor in Geohazards at Imperial College London), about the themes in Stibbon’s new work.
Cristina Iglesias: ‘The Shore’
Hauser & Wirth
14 October - 20 December
It seems another group of rocks has landed in a London gallery nearby, but this time it’s Cristina Iglesias’s three bronze meteorites at Hauser & Wirth. Set within the deeply atmospheric, low-lit gallery space, these large metallic sculptures glow and draw the viewer in. Although the artworks are dotted around the space, the sound of the water emanating from the sculptures engulfs and unites the entirety of the space, compelling you towards them. Step closer and you’ll find yourself somewhere between the seashore and the underworld of science fiction.
These geological formations are a curious fusion of the organic and the sculptural, the built and the manmade. Their rock-like exterior is familiar, but their webbed interior feels alien. They are at once cold and warm, enticing and disturbing, inviting and repulsive, thus provoking visceral reactions from their viewers. In this sense, Iglesias’s work is a profound reflection on the ambivalent nature of our relationship with the natural, living world we inhabit.
‘in spirit and truth’ [come closer and see]
Ione + Mann
15 October - 29 November
For some, spirit and truth go hand in hand. For others, they are opposing qualities. The shimmering tension or harmony between the two is what this group show is about. By removing the capitals from these words within the exhibition title, these words are also stripped of the irrefutable authority and grandeur that they are usually associated with. Instead, visitors are invited to participate in a dialogue in which these terms can be redefined together. Meanwhile, the show’s subtitle, ‘[come closer and see]’, advocates for a certain tenderness within this dialogue, asking its viewers to take time and care when taking a closer look and forming opinions.
In many ways, this is what thinking ecologically is all about: uniting seemingly opposite qualities, blurring the boundaries and seeking balance between the natural and the cultural, the mind and the soul, the light and the dark, the feeling and the thought, the yin and the yang.
The exhibition takes its starting point from a new artwork by Yelena Popova: ‘Fern Flower’. This Jaquard-woven tapestry represents the mythological fern flower, which, according to Slavic and Baltic folklore, ‘brings good fortune, love and abundance, and allows humans to unlock secrets and to understand the language of animals and trees’. Yet this piece retains some of the highly geometric aesthetic of constructivist art from the Soviet era, so it’s as though Popova is trying to make sense of this mythological symbol through scientific means, thus bringing the spiritual into the realm of reason.
Another piece that encapsulates this exhibition’s essence beautifully is Danae Patsalou’s series entitled ‘Sun Glitter’. These small paintings of light shimmering across the surface of water are a reflection of Patsalou’s Cyprian heritage. Whilst the inhabitants of Cyprus have long been divided by political tensions, what irrefutably unites them as islanders is their relationship to the water that surrounds them. Both sides share views of the sea and can appreciate how the sun tessellates in the ripples on the water’s surface. No matter where one stands ideologically, anyone can revel in the simple, undeniable beauty of this phenomenon.
The message in Patsalou’s pieces is particularly poignant for anyone living in this current point in time: as political division spreads globally, it’s important to remember that there is more that unites us than divides us and that we all share these universal experiences of beauty. Meanwhile, as the effects of climate change are felt worldwide, it’s crucial that we advocate for dialogue and cooperation over division and blame. If we seek out the beauty that we want to preserve in both our natural and cultural world, we can use it to fuel positive action.
Singing to the Nanomeadow: In Conversation and Nature Ritual
Saturday 15 November, 12 pm
Ione and Mann will present a creative nature ritual featuring artists Yelena Popova, Alice Kemp, and Yuichiro Kikuma on the occasion of in spirit and truth [come closer and see], a group exhibition that explores opposing tensions inherent in balance within humankind’s fragile entanglement with the natural world.
Taking place in parallel with COP30, Art + Climate Week is a collaborative initiative from Gallery Climate Coalition and gowithYamo to amplify climate action in the arts. Its programme consists of art exhibitions and other events, including talks and workshops, which encourage visitors to think both critically and openly about climate change and our place within a changing world.
Emma Stibbon: ‘Melting Ice | Rising Tides’
Cristea Roberts Gallery
23 October - 22 November
In the latest iteration of Emma Stibbon’s touring exhibition ‘Melting Ice | Rising Tides’, the artist presents a series of paintings and prints depicting the sea and the coast at Cristea Roberts Gallery. From afar, there is a high degree of realism and a photographic quality to these works. And this illusionistic quality is even more pronounced in the show-stopping 'Rock Fall’, where rocks literally break out from the drawing of the cliff face at Bideford Bay onto the gallery floor. With its extraordinary physical presence, this piece lands the gallery visitors right in the midst of the cliffs of North Devon without having to set foot outside of Central London.
As reflected in its title, the themes broached in this exhibition are melting ice, rising tides, landslides, and erosion – all natural occurrences whose rates have accelerated by human-made climate change.
The sheer force of these phenomena can be felt in the marks that Stibbon employs: dynamic brushstrokes and paint splatters, ink seeping and spreading into the paper, scratched surfaces, and deep, dark washes of paint. When you step closer, Stibbon’s works distinctly set themselves apart from photography. These marks add texture, atmosphere, physicality and dynamism, so that one can feel the power of the wave and the softness of the surf viscerally.
Stibbon clearly has incredible technical mastery across different disciplines - drawing, painting, print-making, and sculpture now too. Her approach to making is joyful, and you can sense that Stibbon has a deep respect and appreciation for the natural environments that she depicts. In fact, her works almost operate like collaborations with those environments, as she often uses materials found in situ within the final pieces: in 'Breaker' she uses ink, sea salt and Eastbourne Sea Water; in ‘Rock Fall’, she uses North Devon sourced pigments on paper and mixed media; in ‘Birling Gap’ she uses ground cliff chalk and fabricated chalk; and in ‘Ice Front’ she uses watercolour, graphite and aluminium powder.
The results are mesmerising. The freezing cold, the tempest of the seas and the precarity of the landslides all come to life within Stibbon’s artwork and nature is reverently portrayed at its most sublime: at once beautiful and terrifying.
Artist Talk at Cristea Roberts Gallery
Thursday 13 November, 6 pm
CRG will present a panel discussion with exhibiting artist Emma Stibbon; Sara Cooper (Head of Collections and Exhibitions at Towner Eastbourne); and Dr Dylan Rood (Associate Professor in Geohazards at Imperial College London), about the themes in Stibbon’s new work.
Cristina Iglesias: ‘The Shore’
Hauser & Wirth
14 October - 20 December
It seems another group of rocks has landed in a London gallery nearby, but this time it’s Cristina Iglesias’s three bronze meteorites at Hauser & Wirth. Set within the deeply atmospheric, low-lit gallery space, these large metallic sculptures glow and draw the viewer in. Although the artworks are dotted around the space, the sound of the water emanating from the sculptures engulfs and unites the entirety of the space, compelling you towards them. Step closer and you’ll find yourself somewhere between the seashore and the underworld of science fiction.
These geological formations are a curious fusion of the organic and the sculptural, the built and the manmade. Their rock-like exterior is familiar, but their webbed interior feels alien. They are at once cold and warm, enticing and disturbing, inviting and repulsive, thus provoking visceral reactions from their viewers. In this sense, Iglesias’s work is a profound reflection on the ambivalent nature of our relationship with the natural, living world we inhabit.
‘in spirit and truth’ [come closer and see]
Ione + Mann
15 October - 29 November
For some, spirit and truth go hand in hand. For others, they are opposing qualities. The shimmering tension or harmony between the two is what this group show is about. By removing the capitals from these words within the exhibition title, these words are also stripped of the irrefutable authority and grandeur that they are usually associated with. Instead, visitors are invited to participate in a dialogue in which these terms can be redefined together. Meanwhile, the show’s subtitle, ‘[come closer and see]’, advocates for a certain tenderness within this dialogue, asking its viewers to take time and care when taking a closer look and forming opinions.
In many ways, this is what thinking ecologically is all about: uniting seemingly opposite qualities, blurring the boundaries and seeking balance between the natural and the cultural, the mind and the soul, the light and the dark, the feeling and the thought, the yin and the yang.
The exhibition takes its starting point from a new artwork by Yelena Popova: ‘Fern Flower’. This Jaquard-woven tapestry represents the mythological fern flower, which, according to Slavic and Baltic folklore, ‘brings good fortune, love and abundance, and allows humans to unlock secrets and to understand the language of animals and trees’. Yet this piece retains some of the highly geometric aesthetic of constructivist art from the Soviet era, so it’s as though Popova is trying to make sense of this mythological symbol through scientific means, thus bringing the spiritual into the realm of reason.
Another piece that encapsulates this exhibition’s essence beautifully is Danae Patsalou’s series entitled ‘Sun Glitter’. These small paintings of light shimmering across the surface of water are a reflection of Patsalou’s Cyprian heritage. Whilst the inhabitants of Cyprus have long been divided by political tensions, what irrefutably unites them as islanders is their relationship to the water that surrounds them. Both sides share views of the sea and can appreciate how the sun tessellates in the ripples on the water’s surface. No matter where one stands ideologically, anyone can revel in the simple, undeniable beauty of this phenomenon.
The message in Patsalou’s pieces is particularly poignant for anyone living in this current point in time: as political division spreads globally, it’s important to remember that there is more that unites us than divides us and that we all share these universal experiences of beauty. Meanwhile, as the effects of climate change are felt worldwide, it’s crucial that we advocate for dialogue and cooperation over division and blame. If we seek out the beauty that we want to preserve in both our natural and cultural world, we can use it to fuel positive action.
Singing to the Nanomeadow: In Conversation and Nature Ritual
Saturday 15 November, 12 pm
Ione and Mann will present a creative nature ritual featuring artists Yelena Popova, Alice Kemp, and Yuichiro Kikuma on the occasion of in spirit and truth [come closer and see], a group exhibition that explores opposing tensions inherent in balance within humankind’s fragile entanglement with the natural world.
Taking place in parallel with COP30, Art + Climate Week is a collaborative initiative from Gallery Climate Coalition and gowithYamo to amplify climate action in the arts. Its programme consists of art exhibitions and other events, including talks and workshops, which encourage visitors to think both critically and openly about climate change and our place within a changing world.
Emma Stibbon: ‘Melting Ice | Rising Tides’
Cristea Roberts Gallery
23 October - 22 November
In the latest iteration of Emma Stibbon’s touring exhibition ‘Melting Ice | Rising Tides’, the artist presents a series of paintings and prints depicting the sea and the coast at Cristea Roberts Gallery. From afar, there is a high degree of realism and a photographic quality to these works. And this illusionistic quality is even more pronounced in the show-stopping 'Rock Fall’, where rocks literally break out from the drawing of the cliff face at Bideford Bay onto the gallery floor. With its extraordinary physical presence, this piece lands the gallery visitors right in the midst of the cliffs of North Devon without having to set foot outside of Central London.
As reflected in its title, the themes broached in this exhibition are melting ice, rising tides, landslides, and erosion – all natural occurrences whose rates have accelerated by human-made climate change.
The sheer force of these phenomena can be felt in the marks that Stibbon employs: dynamic brushstrokes and paint splatters, ink seeping and spreading into the paper, scratched surfaces, and deep, dark washes of paint. When you step closer, Stibbon’s works distinctly set themselves apart from photography. These marks add texture, atmosphere, physicality and dynamism, so that one can feel the power of the wave and the softness of the surf viscerally.
Stibbon clearly has incredible technical mastery across different disciplines - drawing, painting, print-making, and sculpture now too. Her approach to making is joyful, and you can sense that Stibbon has a deep respect and appreciation for the natural environments that she depicts. In fact, her works almost operate like collaborations with those environments, as she often uses materials found in situ within the final pieces: in 'Breaker' she uses ink, sea salt and Eastbourne Sea Water; in ‘Rock Fall’, she uses North Devon sourced pigments on paper and mixed media; in ‘Birling Gap’ she uses ground cliff chalk and fabricated chalk; and in ‘Ice Front’ she uses watercolour, graphite and aluminium powder.
The results are mesmerising. The freezing cold, the tempest of the seas and the precarity of the landslides all come to life within Stibbon’s artwork and nature is reverently portrayed at its most sublime: at once beautiful and terrifying.
Artist Talk at Cristea Roberts Gallery
Thursday 13 November, 6 pm
CRG will present a panel discussion with exhibiting artist Emma Stibbon; Sara Cooper (Head of Collections and Exhibitions at Towner Eastbourne); and Dr Dylan Rood (Associate Professor in Geohazards at Imperial College London), about the themes in Stibbon’s new work.
Cristina Iglesias: ‘The Shore’
Hauser & Wirth
14 October - 20 December
It seems another group of rocks has landed in a London gallery nearby, but this time it’s Cristina Iglesias’s three bronze meteorites at Hauser & Wirth. Set within the deeply atmospheric, low-lit gallery space, these large metallic sculptures glow and draw the viewer in. Although the artworks are dotted around the space, the sound of the water emanating from the sculptures engulfs and unites the entirety of the space, compelling you towards them. Step closer and you’ll find yourself somewhere between the seashore and the underworld of science fiction.
These geological formations are a curious fusion of the organic and the sculptural, the built and the manmade. Their rock-like exterior is familiar, but their webbed interior feels alien. They are at once cold and warm, enticing and disturbing, inviting and repulsive, thus provoking visceral reactions from their viewers. In this sense, Iglesias’s work is a profound reflection on the ambivalent nature of our relationship with the natural, living world we inhabit.
‘in spirit and truth’ [come closer and see]
Ione + Mann
15 October - 29 November
For some, spirit and truth go hand in hand. For others, they are opposing qualities. The shimmering tension or harmony between the two is what this group show is about. By removing the capitals from these words within the exhibition title, these words are also stripped of the irrefutable authority and grandeur that they are usually associated with. Instead, visitors are invited to participate in a dialogue in which these terms can be redefined together. Meanwhile, the show’s subtitle, ‘[come closer and see]’, advocates for a certain tenderness within this dialogue, asking its viewers to take time and care when taking a closer look and forming opinions.
In many ways, this is what thinking ecologically is all about: uniting seemingly opposite qualities, blurring the boundaries and seeking balance between the natural and the cultural, the mind and the soul, the light and the dark, the feeling and the thought, the yin and the yang.
The exhibition takes its starting point from a new artwork by Yelena Popova: ‘Fern Flower’. This Jaquard-woven tapestry represents the mythological fern flower, which, according to Slavic and Baltic folklore, ‘brings good fortune, love and abundance, and allows humans to unlock secrets and to understand the language of animals and trees’. Yet this piece retains some of the highly geometric aesthetic of constructivist art from the Soviet era, so it’s as though Popova is trying to make sense of this mythological symbol through scientific means, thus bringing the spiritual into the realm of reason.
Another piece that encapsulates this exhibition’s essence beautifully is Danae Patsalou’s series entitled ‘Sun Glitter’. These small paintings of light shimmering across the surface of water are a reflection of Patsalou’s Cyprian heritage. Whilst the inhabitants of Cyprus have long been divided by political tensions, what irrefutably unites them as islanders is their relationship to the water that surrounds them. Both sides share views of the sea and can appreciate how the sun tessellates in the ripples on the water’s surface. No matter where one stands ideologically, anyone can revel in the simple, undeniable beauty of this phenomenon.
The message in Patsalou’s pieces is particularly poignant for anyone living in this current point in time: as political division spreads globally, it’s important to remember that there is more that unites us than divides us and that we all share these universal experiences of beauty. Meanwhile, as the effects of climate change are felt worldwide, it’s crucial that we advocate for dialogue and cooperation over division and blame. If we seek out the beauty that we want to preserve in both our natural and cultural world, we can use it to fuel positive action.
Singing to the Nanomeadow: In Conversation and Nature Ritual
Saturday 15 November, 12 pm
Ione and Mann will present a creative nature ritual featuring artists Yelena Popova, Alice Kemp, and Yuichiro Kikuma on the occasion of in spirit and truth [come closer and see], a group exhibition that explores opposing tensions inherent in balance within humankind’s fragile entanglement with the natural world.
Taking place in parallel with COP30, Art + Climate Week is a collaborative initiative from Gallery Climate Coalition and gowithYamo to amplify climate action in the arts. Its programme consists of art exhibitions and other events, including talks and workshops, which encourage visitors to think both critically and openly about climate change and our place within a changing world.
Emma Stibbon: ‘Melting Ice | Rising Tides’
Cristea Roberts Gallery
23 October - 22 November
In the latest iteration of Emma Stibbon’s touring exhibition ‘Melting Ice | Rising Tides’, the artist presents a series of paintings and prints depicting the sea and the coast at Cristea Roberts Gallery. From afar, there is a high degree of realism and a photographic quality to these works. And this illusionistic quality is even more pronounced in the show-stopping 'Rock Fall’, where rocks literally break out from the drawing of the cliff face at Bideford Bay onto the gallery floor. With its extraordinary physical presence, this piece lands the gallery visitors right in the midst of the cliffs of North Devon without having to set foot outside of Central London.
As reflected in its title, the themes broached in this exhibition are melting ice, rising tides, landslides, and erosion – all natural occurrences whose rates have accelerated by human-made climate change.
The sheer force of these phenomena can be felt in the marks that Stibbon employs: dynamic brushstrokes and paint splatters, ink seeping and spreading into the paper, scratched surfaces, and deep, dark washes of paint. When you step closer, Stibbon’s works distinctly set themselves apart from photography. These marks add texture, atmosphere, physicality and dynamism, so that one can feel the power of the wave and the softness of the surf viscerally.
Stibbon clearly has incredible technical mastery across different disciplines - drawing, painting, print-making, and sculpture now too. Her approach to making is joyful, and you can sense that Stibbon has a deep respect and appreciation for the natural environments that she depicts. In fact, her works almost operate like collaborations with those environments, as she often uses materials found in situ within the final pieces: in 'Breaker' she uses ink, sea salt and Eastbourne Sea Water; in ‘Rock Fall’, she uses North Devon sourced pigments on paper and mixed media; in ‘Birling Gap’ she uses ground cliff chalk and fabricated chalk; and in ‘Ice Front’ she uses watercolour, graphite and aluminium powder.
The results are mesmerising. The freezing cold, the tempest of the seas and the precarity of the landslides all come to life within Stibbon’s artwork and nature is reverently portrayed at its most sublime: at once beautiful and terrifying.
Artist Talk at Cristea Roberts Gallery
Thursday 13 November, 6 pm
CRG will present a panel discussion with exhibiting artist Emma Stibbon; Sara Cooper (Head of Collections and Exhibitions at Towner Eastbourne); and Dr Dylan Rood (Associate Professor in Geohazards at Imperial College London), about the themes in Stibbon’s new work.
Cristina Iglesias: ‘The Shore’
Hauser & Wirth
14 October - 20 December
It seems another group of rocks has landed in a London gallery nearby, but this time it’s Cristina Iglesias’s three bronze meteorites at Hauser & Wirth. Set within the deeply atmospheric, low-lit gallery space, these large metallic sculptures glow and draw the viewer in. Although the artworks are dotted around the space, the sound of the water emanating from the sculptures engulfs and unites the entirety of the space, compelling you towards them. Step closer and you’ll find yourself somewhere between the seashore and the underworld of science fiction.
These geological formations are a curious fusion of the organic and the sculptural, the built and the manmade. Their rock-like exterior is familiar, but their webbed interior feels alien. They are at once cold and warm, enticing and disturbing, inviting and repulsive, thus provoking visceral reactions from their viewers. In this sense, Iglesias’s work is a profound reflection on the ambivalent nature of our relationship with the natural, living world we inhabit.
‘in spirit and truth’ [come closer and see]
Ione + Mann
15 October - 29 November
For some, spirit and truth go hand in hand. For others, they are opposing qualities. The shimmering tension or harmony between the two is what this group show is about. By removing the capitals from these words within the exhibition title, these words are also stripped of the irrefutable authority and grandeur that they are usually associated with. Instead, visitors are invited to participate in a dialogue in which these terms can be redefined together. Meanwhile, the show’s subtitle, ‘[come closer and see]’, advocates for a certain tenderness within this dialogue, asking its viewers to take time and care when taking a closer look and forming opinions.
In many ways, this is what thinking ecologically is all about: uniting seemingly opposite qualities, blurring the boundaries and seeking balance between the natural and the cultural, the mind and the soul, the light and the dark, the feeling and the thought, the yin and the yang.
The exhibition takes its starting point from a new artwork by Yelena Popova: ‘Fern Flower’. This Jaquard-woven tapestry represents the mythological fern flower, which, according to Slavic and Baltic folklore, ‘brings good fortune, love and abundance, and allows humans to unlock secrets and to understand the language of animals and trees’. Yet this piece retains some of the highly geometric aesthetic of constructivist art from the Soviet era, so it’s as though Popova is trying to make sense of this mythological symbol through scientific means, thus bringing the spiritual into the realm of reason.
Another piece that encapsulates this exhibition’s essence beautifully is Danae Patsalou’s series entitled ‘Sun Glitter’. These small paintings of light shimmering across the surface of water are a reflection of Patsalou’s Cyprian heritage. Whilst the inhabitants of Cyprus have long been divided by political tensions, what irrefutably unites them as islanders is their relationship to the water that surrounds them. Both sides share views of the sea and can appreciate how the sun tessellates in the ripples on the water’s surface. No matter where one stands ideologically, anyone can revel in the simple, undeniable beauty of this phenomenon.
The message in Patsalou’s pieces is particularly poignant for anyone living in this current point in time: as political division spreads globally, it’s important to remember that there is more that unites us than divides us and that we all share these universal experiences of beauty. Meanwhile, as the effects of climate change are felt worldwide, it’s crucial that we advocate for dialogue and cooperation over division and blame. If we seek out the beauty that we want to preserve in both our natural and cultural world, we can use it to fuel positive action.
Singing to the Nanomeadow: In Conversation and Nature Ritual
Saturday 15 November, 12 pm
Ione and Mann will present a creative nature ritual featuring artists Yelena Popova, Alice Kemp, and Yuichiro Kikuma on the occasion of in spirit and truth [come closer and see], a group exhibition that explores opposing tensions inherent in balance within humankind’s fragile entanglement with the natural world.
Taking place in parallel with COP30, Art + Climate Week is a collaborative initiative from Gallery Climate Coalition and gowithYamo to amplify climate action in the arts. Its programme consists of art exhibitions and other events, including talks and workshops, which encourage visitors to think both critically and openly about climate change and our place within a changing world.
Emma Stibbon: ‘Melting Ice | Rising Tides’
Cristea Roberts Gallery
23 October - 22 November
In the latest iteration of Emma Stibbon’s touring exhibition ‘Melting Ice | Rising Tides’, the artist presents a series of paintings and prints depicting the sea and the coast at Cristea Roberts Gallery. From afar, there is a high degree of realism and a photographic quality to these works. And this illusionistic quality is even more pronounced in the show-stopping 'Rock Fall’, where rocks literally break out from the drawing of the cliff face at Bideford Bay onto the gallery floor. With its extraordinary physical presence, this piece lands the gallery visitors right in the midst of the cliffs of North Devon without having to set foot outside of Central London.
As reflected in its title, the themes broached in this exhibition are melting ice, rising tides, landslides, and erosion – all natural occurrences whose rates have accelerated by human-made climate change.
The sheer force of these phenomena can be felt in the marks that Stibbon employs: dynamic brushstrokes and paint splatters, ink seeping and spreading into the paper, scratched surfaces, and deep, dark washes of paint. When you step closer, Stibbon’s works distinctly set themselves apart from photography. These marks add texture, atmosphere, physicality and dynamism, so that one can feel the power of the wave and the softness of the surf viscerally.
Stibbon clearly has incredible technical mastery across different disciplines - drawing, painting, print-making, and sculpture now too. Her approach to making is joyful, and you can sense that Stibbon has a deep respect and appreciation for the natural environments that she depicts. In fact, her works almost operate like collaborations with those environments, as she often uses materials found in situ within the final pieces: in 'Breaker' she uses ink, sea salt and Eastbourne Sea Water; in ‘Rock Fall’, she uses North Devon sourced pigments on paper and mixed media; in ‘Birling Gap’ she uses ground cliff chalk and fabricated chalk; and in ‘Ice Front’ she uses watercolour, graphite and aluminium powder.
The results are mesmerising. The freezing cold, the tempest of the seas and the precarity of the landslides all come to life within Stibbon’s artwork and nature is reverently portrayed at its most sublime: at once beautiful and terrifying.
Artist Talk at Cristea Roberts Gallery
Thursday 13 November, 6 pm
CRG will present a panel discussion with exhibiting artist Emma Stibbon; Sara Cooper (Head of Collections and Exhibitions at Towner Eastbourne); and Dr Dylan Rood (Associate Professor in Geohazards at Imperial College London), about the themes in Stibbon’s new work.
Cristina Iglesias: ‘The Shore’
Hauser & Wirth
14 October - 20 December
It seems another group of rocks has landed in a London gallery nearby, but this time it’s Cristina Iglesias’s three bronze meteorites at Hauser & Wirth. Set within the deeply atmospheric, low-lit gallery space, these large metallic sculptures glow and draw the viewer in. Although the artworks are dotted around the space, the sound of the water emanating from the sculptures engulfs and unites the entirety of the space, compelling you towards them. Step closer and you’ll find yourself somewhere between the seashore and the underworld of science fiction.
These geological formations are a curious fusion of the organic and the sculptural, the built and the manmade. Their rock-like exterior is familiar, but their webbed interior feels alien. They are at once cold and warm, enticing and disturbing, inviting and repulsive, thus provoking visceral reactions from their viewers. In this sense, Iglesias’s work is a profound reflection on the ambivalent nature of our relationship with the natural, living world we inhabit.
‘in spirit and truth’ [come closer and see]
Ione + Mann
15 October - 29 November
For some, spirit and truth go hand in hand. For others, they are opposing qualities. The shimmering tension or harmony between the two is what this group show is about. By removing the capitals from these words within the exhibition title, these words are also stripped of the irrefutable authority and grandeur that they are usually associated with. Instead, visitors are invited to participate in a dialogue in which these terms can be redefined together. Meanwhile, the show’s subtitle, ‘[come closer and see]’, advocates for a certain tenderness within this dialogue, asking its viewers to take time and care when taking a closer look and forming opinions.
In many ways, this is what thinking ecologically is all about: uniting seemingly opposite qualities, blurring the boundaries and seeking balance between the natural and the cultural, the mind and the soul, the light and the dark, the feeling and the thought, the yin and the yang.
The exhibition takes its starting point from a new artwork by Yelena Popova: ‘Fern Flower’. This Jaquard-woven tapestry represents the mythological fern flower, which, according to Slavic and Baltic folklore, ‘brings good fortune, love and abundance, and allows humans to unlock secrets and to understand the language of animals and trees’. Yet this piece retains some of the highly geometric aesthetic of constructivist art from the Soviet era, so it’s as though Popova is trying to make sense of this mythological symbol through scientific means, thus bringing the spiritual into the realm of reason.
Another piece that encapsulates this exhibition’s essence beautifully is Danae Patsalou’s series entitled ‘Sun Glitter’. These small paintings of light shimmering across the surface of water are a reflection of Patsalou’s Cyprian heritage. Whilst the inhabitants of Cyprus have long been divided by political tensions, what irrefutably unites them as islanders is their relationship to the water that surrounds them. Both sides share views of the sea and can appreciate how the sun tessellates in the ripples on the water’s surface. No matter where one stands ideologically, anyone can revel in the simple, undeniable beauty of this phenomenon.
The message in Patsalou’s pieces is particularly poignant for anyone living in this current point in time: as political division spreads globally, it’s important to remember that there is more that unites us than divides us and that we all share these universal experiences of beauty. Meanwhile, as the effects of climate change are felt worldwide, it’s crucial that we advocate for dialogue and cooperation over division and blame. If we seek out the beauty that we want to preserve in both our natural and cultural world, we can use it to fuel positive action.
Singing to the Nanomeadow: In Conversation and Nature Ritual
Saturday 15 November, 12 pm
Ione and Mann will present a creative nature ritual featuring artists Yelena Popova, Alice Kemp, and Yuichiro Kikuma on the occasion of in spirit and truth [come closer and see], a group exhibition that explores opposing tensions inherent in balance within humankind’s fragile entanglement with the natural world.
Taking place in parallel with COP30, Art + Climate Week is a collaborative initiative from Gallery Climate Coalition and gowithYamo to amplify climate action in the arts. Its programme consists of art exhibitions and other events, including talks and workshops, which encourage visitors to think both critically and openly about climate change and our place within a changing world.
Emma Stibbon: ‘Melting Ice | Rising Tides’
Cristea Roberts Gallery
23 October - 22 November
In the latest iteration of Emma Stibbon’s touring exhibition ‘Melting Ice | Rising Tides’, the artist presents a series of paintings and prints depicting the sea and the coast at Cristea Roberts Gallery. From afar, there is a high degree of realism and a photographic quality to these works. And this illusionistic quality is even more pronounced in the show-stopping 'Rock Fall’, where rocks literally break out from the drawing of the cliff face at Bideford Bay onto the gallery floor. With its extraordinary physical presence, this piece lands the gallery visitors right in the midst of the cliffs of North Devon without having to set foot outside of Central London.
As reflected in its title, the themes broached in this exhibition are melting ice, rising tides, landslides, and erosion – all natural occurrences whose rates have accelerated by human-made climate change.
The sheer force of these phenomena can be felt in the marks that Stibbon employs: dynamic brushstrokes and paint splatters, ink seeping and spreading into the paper, scratched surfaces, and deep, dark washes of paint. When you step closer, Stibbon’s works distinctly set themselves apart from photography. These marks add texture, atmosphere, physicality and dynamism, so that one can feel the power of the wave and the softness of the surf viscerally.
Stibbon clearly has incredible technical mastery across different disciplines - drawing, painting, print-making, and sculpture now too. Her approach to making is joyful, and you can sense that Stibbon has a deep respect and appreciation for the natural environments that she depicts. In fact, her works almost operate like collaborations with those environments, as she often uses materials found in situ within the final pieces: in 'Breaker' she uses ink, sea salt and Eastbourne Sea Water; in ‘Rock Fall’, she uses North Devon sourced pigments on paper and mixed media; in ‘Birling Gap’ she uses ground cliff chalk and fabricated chalk; and in ‘Ice Front’ she uses watercolour, graphite and aluminium powder.
The results are mesmerising. The freezing cold, the tempest of the seas and the precarity of the landslides all come to life within Stibbon’s artwork and nature is reverently portrayed at its most sublime: at once beautiful and terrifying.
Artist Talk at Cristea Roberts Gallery
Thursday 13 November, 6 pm
CRG will present a panel discussion with exhibiting artist Emma Stibbon; Sara Cooper (Head of Collections and Exhibitions at Towner Eastbourne); and Dr Dylan Rood (Associate Professor in Geohazards at Imperial College London), about the themes in Stibbon’s new work.
Cristina Iglesias: ‘The Shore’
Hauser & Wirth
14 October - 20 December
It seems another group of rocks has landed in a London gallery nearby, but this time it’s Cristina Iglesias’s three bronze meteorites at Hauser & Wirth. Set within the deeply atmospheric, low-lit gallery space, these large metallic sculptures glow and draw the viewer in. Although the artworks are dotted around the space, the sound of the water emanating from the sculptures engulfs and unites the entirety of the space, compelling you towards them. Step closer and you’ll find yourself somewhere between the seashore and the underworld of science fiction.
These geological formations are a curious fusion of the organic and the sculptural, the built and the manmade. Their rock-like exterior is familiar, but their webbed interior feels alien. They are at once cold and warm, enticing and disturbing, inviting and repulsive, thus provoking visceral reactions from their viewers. In this sense, Iglesias’s work is a profound reflection on the ambivalent nature of our relationship with the natural, living world we inhabit.
‘in spirit and truth’ [come closer and see]
Ione + Mann
15 October - 29 November
For some, spirit and truth go hand in hand. For others, they are opposing qualities. The shimmering tension or harmony between the two is what this group show is about. By removing the capitals from these words within the exhibition title, these words are also stripped of the irrefutable authority and grandeur that they are usually associated with. Instead, visitors are invited to participate in a dialogue in which these terms can be redefined together. Meanwhile, the show’s subtitle, ‘[come closer and see]’, advocates for a certain tenderness within this dialogue, asking its viewers to take time and care when taking a closer look and forming opinions.
In many ways, this is what thinking ecologically is all about: uniting seemingly opposite qualities, blurring the boundaries and seeking balance between the natural and the cultural, the mind and the soul, the light and the dark, the feeling and the thought, the yin and the yang.
The exhibition takes its starting point from a new artwork by Yelena Popova: ‘Fern Flower’. This Jaquard-woven tapestry represents the mythological fern flower, which, according to Slavic and Baltic folklore, ‘brings good fortune, love and abundance, and allows humans to unlock secrets and to understand the language of animals and trees’. Yet this piece retains some of the highly geometric aesthetic of constructivist art from the Soviet era, so it’s as though Popova is trying to make sense of this mythological symbol through scientific means, thus bringing the spiritual into the realm of reason.
Another piece that encapsulates this exhibition’s essence beautifully is Danae Patsalou’s series entitled ‘Sun Glitter’. These small paintings of light shimmering across the surface of water are a reflection of Patsalou’s Cyprian heritage. Whilst the inhabitants of Cyprus have long been divided by political tensions, what irrefutably unites them as islanders is their relationship to the water that surrounds them. Both sides share views of the sea and can appreciate how the sun tessellates in the ripples on the water’s surface. No matter where one stands ideologically, anyone can revel in the simple, undeniable beauty of this phenomenon.
The message in Patsalou’s pieces is particularly poignant for anyone living in this current point in time: as political division spreads globally, it’s important to remember that there is more that unites us than divides us and that we all share these universal experiences of beauty. Meanwhile, as the effects of climate change are felt worldwide, it’s crucial that we advocate for dialogue and cooperation over division and blame. If we seek out the beauty that we want to preserve in both our natural and cultural world, we can use it to fuel positive action.
Singing to the Nanomeadow: In Conversation and Nature Ritual
Saturday 15 November, 12 pm
Ione and Mann will present a creative nature ritual featuring artists Yelena Popova, Alice Kemp, and Yuichiro Kikuma on the occasion of in spirit and truth [come closer and see], a group exhibition that explores opposing tensions inherent in balance within humankind’s fragile entanglement with the natural world.
Taking place in parallel with COP30, Art + Climate Week is a collaborative initiative from Gallery Climate Coalition and gowithYamo to amplify climate action in the arts. Its programme consists of art exhibitions and other events, including talks and workshops, which encourage visitors to think both critically and openly about climate change and our place within a changing world.
Emma Stibbon: ‘Melting Ice | Rising Tides’
Cristea Roberts Gallery
23 October - 22 November
In the latest iteration of Emma Stibbon’s touring exhibition ‘Melting Ice | Rising Tides’, the artist presents a series of paintings and prints depicting the sea and the coast at Cristea Roberts Gallery. From afar, there is a high degree of realism and a photographic quality to these works. And this illusionistic quality is even more pronounced in the show-stopping 'Rock Fall’, where rocks literally break out from the drawing of the cliff face at Bideford Bay onto the gallery floor. With its extraordinary physical presence, this piece lands the gallery visitors right in the midst of the cliffs of North Devon without having to set foot outside of Central London.
As reflected in its title, the themes broached in this exhibition are melting ice, rising tides, landslides, and erosion – all natural occurrences whose rates have accelerated by human-made climate change.
The sheer force of these phenomena can be felt in the marks that Stibbon employs: dynamic brushstrokes and paint splatters, ink seeping and spreading into the paper, scratched surfaces, and deep, dark washes of paint. When you step closer, Stibbon’s works distinctly set themselves apart from photography. These marks add texture, atmosphere, physicality and dynamism, so that one can feel the power of the wave and the softness of the surf viscerally.
Stibbon clearly has incredible technical mastery across different disciplines - drawing, painting, print-making, and sculpture now too. Her approach to making is joyful, and you can sense that Stibbon has a deep respect and appreciation for the natural environments that she depicts. In fact, her works almost operate like collaborations with those environments, as she often uses materials found in situ within the final pieces: in 'Breaker' she uses ink, sea salt and Eastbourne Sea Water; in ‘Rock Fall’, she uses North Devon sourced pigments on paper and mixed media; in ‘Birling Gap’ she uses ground cliff chalk and fabricated chalk; and in ‘Ice Front’ she uses watercolour, graphite and aluminium powder.
The results are mesmerising. The freezing cold, the tempest of the seas and the precarity of the landslides all come to life within Stibbon’s artwork and nature is reverently portrayed at its most sublime: at once beautiful and terrifying.
Artist Talk at Cristea Roberts Gallery
Thursday 13 November, 6 pm
CRG will present a panel discussion with exhibiting artist Emma Stibbon; Sara Cooper (Head of Collections and Exhibitions at Towner Eastbourne); and Dr Dylan Rood (Associate Professor in Geohazards at Imperial College London), about the themes in Stibbon’s new work.
Cristina Iglesias: ‘The Shore’
Hauser & Wirth
14 October - 20 December
It seems another group of rocks has landed in a London gallery nearby, but this time it’s Cristina Iglesias’s three bronze meteorites at Hauser & Wirth. Set within the deeply atmospheric, low-lit gallery space, these large metallic sculptures glow and draw the viewer in. Although the artworks are dotted around the space, the sound of the water emanating from the sculptures engulfs and unites the entirety of the space, compelling you towards them. Step closer and you’ll find yourself somewhere between the seashore and the underworld of science fiction.
These geological formations are a curious fusion of the organic and the sculptural, the built and the manmade. Their rock-like exterior is familiar, but their webbed interior feels alien. They are at once cold and warm, enticing and disturbing, inviting and repulsive, thus provoking visceral reactions from their viewers. In this sense, Iglesias’s work is a profound reflection on the ambivalent nature of our relationship with the natural, living world we inhabit.
‘in spirit and truth’ [come closer and see]
Ione + Mann
15 October - 29 November
For some, spirit and truth go hand in hand. For others, they are opposing qualities. The shimmering tension or harmony between the two is what this group show is about. By removing the capitals from these words within the exhibition title, these words are also stripped of the irrefutable authority and grandeur that they are usually associated with. Instead, visitors are invited to participate in a dialogue in which these terms can be redefined together. Meanwhile, the show’s subtitle, ‘[come closer and see]’, advocates for a certain tenderness within this dialogue, asking its viewers to take time and care when taking a closer look and forming opinions.
In many ways, this is what thinking ecologically is all about: uniting seemingly opposite qualities, blurring the boundaries and seeking balance between the natural and the cultural, the mind and the soul, the light and the dark, the feeling and the thought, the yin and the yang.
The exhibition takes its starting point from a new artwork by Yelena Popova: ‘Fern Flower’. This Jaquard-woven tapestry represents the mythological fern flower, which, according to Slavic and Baltic folklore, ‘brings good fortune, love and abundance, and allows humans to unlock secrets and to understand the language of animals and trees’. Yet this piece retains some of the highly geometric aesthetic of constructivist art from the Soviet era, so it’s as though Popova is trying to make sense of this mythological symbol through scientific means, thus bringing the spiritual into the realm of reason.
Another piece that encapsulates this exhibition’s essence beautifully is Danae Patsalou’s series entitled ‘Sun Glitter’. These small paintings of light shimmering across the surface of water are a reflection of Patsalou’s Cyprian heritage. Whilst the inhabitants of Cyprus have long been divided by political tensions, what irrefutably unites them as islanders is their relationship to the water that surrounds them. Both sides share views of the sea and can appreciate how the sun tessellates in the ripples on the water’s surface. No matter where one stands ideologically, anyone can revel in the simple, undeniable beauty of this phenomenon.
The message in Patsalou’s pieces is particularly poignant for anyone living in this current point in time: as political division spreads globally, it’s important to remember that there is more that unites us than divides us and that we all share these universal experiences of beauty. Meanwhile, as the effects of climate change are felt worldwide, it’s crucial that we advocate for dialogue and cooperation over division and blame. If we seek out the beauty that we want to preserve in both our natural and cultural world, we can use it to fuel positive action.
Singing to the Nanomeadow: In Conversation and Nature Ritual
Saturday 15 November, 12 pm
Ione and Mann will present a creative nature ritual featuring artists Yelena Popova, Alice Kemp, and Yuichiro Kikuma on the occasion of in spirit and truth [come closer and see], a group exhibition that explores opposing tensions inherent in balance within humankind’s fragile entanglement with the natural world.
Taking place in parallel with COP30, Art + Climate Week is a collaborative initiative from Gallery Climate Coalition and gowithYamo to amplify climate action in the arts. Its programme consists of art exhibitions and other events, including talks and workshops, which encourage visitors to think both critically and openly about climate change and our place within a changing world.
Emma Stibbon: ‘Melting Ice | Rising Tides’
Cristea Roberts Gallery
23 October - 22 November
In the latest iteration of Emma Stibbon’s touring exhibition ‘Melting Ice | Rising Tides’, the artist presents a series of paintings and prints depicting the sea and the coast at Cristea Roberts Gallery. From afar, there is a high degree of realism and a photographic quality to these works. And this illusionistic quality is even more pronounced in the show-stopping 'Rock Fall’, where rocks literally break out from the drawing of the cliff face at Bideford Bay onto the gallery floor. With its extraordinary physical presence, this piece lands the gallery visitors right in the midst of the cliffs of North Devon without having to set foot outside of Central London.
As reflected in its title, the themes broached in this exhibition are melting ice, rising tides, landslides, and erosion – all natural occurrences whose rates have accelerated by human-made climate change.
The sheer force of these phenomena can be felt in the marks that Stibbon employs: dynamic brushstrokes and paint splatters, ink seeping and spreading into the paper, scratched surfaces, and deep, dark washes of paint. When you step closer, Stibbon’s works distinctly set themselves apart from photography. These marks add texture, atmosphere, physicality and dynamism, so that one can feel the power of the wave and the softness of the surf viscerally.
Stibbon clearly has incredible technical mastery across different disciplines - drawing, painting, print-making, and sculpture now too. Her approach to making is joyful, and you can sense that Stibbon has a deep respect and appreciation for the natural environments that she depicts. In fact, her works almost operate like collaborations with those environments, as she often uses materials found in situ within the final pieces: in 'Breaker' she uses ink, sea salt and Eastbourne Sea Water; in ‘Rock Fall’, she uses North Devon sourced pigments on paper and mixed media; in ‘Birling Gap’ she uses ground cliff chalk and fabricated chalk; and in ‘Ice Front’ she uses watercolour, graphite and aluminium powder.
The results are mesmerising. The freezing cold, the tempest of the seas and the precarity of the landslides all come to life within Stibbon’s artwork and nature is reverently portrayed at its most sublime: at once beautiful and terrifying.
Artist Talk at Cristea Roberts Gallery
Thursday 13 November, 6 pm
CRG will present a panel discussion with exhibiting artist Emma Stibbon; Sara Cooper (Head of Collections and Exhibitions at Towner Eastbourne); and Dr Dylan Rood (Associate Professor in Geohazards at Imperial College London), about the themes in Stibbon’s new work.
Cristina Iglesias: ‘The Shore’
Hauser & Wirth
14 October - 20 December
It seems another group of rocks has landed in a London gallery nearby, but this time it’s Cristina Iglesias’s three bronze meteorites at Hauser & Wirth. Set within the deeply atmospheric, low-lit gallery space, these large metallic sculptures glow and draw the viewer in. Although the artworks are dotted around the space, the sound of the water emanating from the sculptures engulfs and unites the entirety of the space, compelling you towards them. Step closer and you’ll find yourself somewhere between the seashore and the underworld of science fiction.
These geological formations are a curious fusion of the organic and the sculptural, the built and the manmade. Their rock-like exterior is familiar, but their webbed interior feels alien. They are at once cold and warm, enticing and disturbing, inviting and repulsive, thus provoking visceral reactions from their viewers. In this sense, Iglesias’s work is a profound reflection on the ambivalent nature of our relationship with the natural, living world we inhabit.
‘in spirit and truth’ [come closer and see]
Ione + Mann
15 October - 29 November
For some, spirit and truth go hand in hand. For others, they are opposing qualities. The shimmering tension or harmony between the two is what this group show is about. By removing the capitals from these words within the exhibition title, these words are also stripped of the irrefutable authority and grandeur that they are usually associated with. Instead, visitors are invited to participate in a dialogue in which these terms can be redefined together. Meanwhile, the show’s subtitle, ‘[come closer and see]’, advocates for a certain tenderness within this dialogue, asking its viewers to take time and care when taking a closer look and forming opinions.
In many ways, this is what thinking ecologically is all about: uniting seemingly opposite qualities, blurring the boundaries and seeking balance between the natural and the cultural, the mind and the soul, the light and the dark, the feeling and the thought, the yin and the yang.
The exhibition takes its starting point from a new artwork by Yelena Popova: ‘Fern Flower’. This Jaquard-woven tapestry represents the mythological fern flower, which, according to Slavic and Baltic folklore, ‘brings good fortune, love and abundance, and allows humans to unlock secrets and to understand the language of animals and trees’. Yet this piece retains some of the highly geometric aesthetic of constructivist art from the Soviet era, so it’s as though Popova is trying to make sense of this mythological symbol through scientific means, thus bringing the spiritual into the realm of reason.
Another piece that encapsulates this exhibition’s essence beautifully is Danae Patsalou’s series entitled ‘Sun Glitter’. These small paintings of light shimmering across the surface of water are a reflection of Patsalou’s Cyprian heritage. Whilst the inhabitants of Cyprus have long been divided by political tensions, what irrefutably unites them as islanders is their relationship to the water that surrounds them. Both sides share views of the sea and can appreciate how the sun tessellates in the ripples on the water’s surface. No matter where one stands ideologically, anyone can revel in the simple, undeniable beauty of this phenomenon.
The message in Patsalou’s pieces is particularly poignant for anyone living in this current point in time: as political division spreads globally, it’s important to remember that there is more that unites us than divides us and that we all share these universal experiences of beauty. Meanwhile, as the effects of climate change are felt worldwide, it’s crucial that we advocate for dialogue and cooperation over division and blame. If we seek out the beauty that we want to preserve in both our natural and cultural world, we can use it to fuel positive action.
Singing to the Nanomeadow: In Conversation and Nature Ritual
Saturday 15 November, 12 pm
Ione and Mann will present a creative nature ritual featuring artists Yelena Popova, Alice Kemp, and Yuichiro Kikuma on the occasion of in spirit and truth [come closer and see], a group exhibition that explores opposing tensions inherent in balance within humankind’s fragile entanglement with the natural world.
Taking place in parallel with COP30, Art + Climate Week is a collaborative initiative from Gallery Climate Coalition and gowithYamo to amplify climate action in the arts. Its programme consists of art exhibitions and other events, including talks and workshops, which encourage visitors to think both critically and openly about climate change and our place within a changing world.
Emma Stibbon: ‘Melting Ice | Rising Tides’
Cristea Roberts Gallery
23 October - 22 November
In the latest iteration of Emma Stibbon’s touring exhibition ‘Melting Ice | Rising Tides’, the artist presents a series of paintings and prints depicting the sea and the coast at Cristea Roberts Gallery. From afar, there is a high degree of realism and a photographic quality to these works. And this illusionistic quality is even more pronounced in the show-stopping 'Rock Fall’, where rocks literally break out from the drawing of the cliff face at Bideford Bay onto the gallery floor. With its extraordinary physical presence, this piece lands the gallery visitors right in the midst of the cliffs of North Devon without having to set foot outside of Central London.
As reflected in its title, the themes broached in this exhibition are melting ice, rising tides, landslides, and erosion – all natural occurrences whose rates have accelerated by human-made climate change.
The sheer force of these phenomena can be felt in the marks that Stibbon employs: dynamic brushstrokes and paint splatters, ink seeping and spreading into the paper, scratched surfaces, and deep, dark washes of paint. When you step closer, Stibbon’s works distinctly set themselves apart from photography. These marks add texture, atmosphere, physicality and dynamism, so that one can feel the power of the wave and the softness of the surf viscerally.
Stibbon clearly has incredible technical mastery across different disciplines - drawing, painting, print-making, and sculpture now too. Her approach to making is joyful, and you can sense that Stibbon has a deep respect and appreciation for the natural environments that she depicts. In fact, her works almost operate like collaborations with those environments, as she often uses materials found in situ within the final pieces: in 'Breaker' she uses ink, sea salt and Eastbourne Sea Water; in ‘Rock Fall’, she uses North Devon sourced pigments on paper and mixed media; in ‘Birling Gap’ she uses ground cliff chalk and fabricated chalk; and in ‘Ice Front’ she uses watercolour, graphite and aluminium powder.
The results are mesmerising. The freezing cold, the tempest of the seas and the precarity of the landslides all come to life within Stibbon’s artwork and nature is reverently portrayed at its most sublime: at once beautiful and terrifying.
Artist Talk at Cristea Roberts Gallery
Thursday 13 November, 6 pm
CRG will present a panel discussion with exhibiting artist Emma Stibbon; Sara Cooper (Head of Collections and Exhibitions at Towner Eastbourne); and Dr Dylan Rood (Associate Professor in Geohazards at Imperial College London), about the themes in Stibbon’s new work.
Cristina Iglesias: ‘The Shore’
Hauser & Wirth
14 October - 20 December
It seems another group of rocks has landed in a London gallery nearby, but this time it’s Cristina Iglesias’s three bronze meteorites at Hauser & Wirth. Set within the deeply atmospheric, low-lit gallery space, these large metallic sculptures glow and draw the viewer in. Although the artworks are dotted around the space, the sound of the water emanating from the sculptures engulfs and unites the entirety of the space, compelling you towards them. Step closer and you’ll find yourself somewhere between the seashore and the underworld of science fiction.
These geological formations are a curious fusion of the organic and the sculptural, the built and the manmade. Their rock-like exterior is familiar, but their webbed interior feels alien. They are at once cold and warm, enticing and disturbing, inviting and repulsive, thus provoking visceral reactions from their viewers. In this sense, Iglesias’s work is a profound reflection on the ambivalent nature of our relationship with the natural, living world we inhabit.
‘in spirit and truth’ [come closer and see]
Ione + Mann
15 October - 29 November
For some, spirit and truth go hand in hand. For others, they are opposing qualities. The shimmering tension or harmony between the two is what this group show is about. By removing the capitals from these words within the exhibition title, these words are also stripped of the irrefutable authority and grandeur that they are usually associated with. Instead, visitors are invited to participate in a dialogue in which these terms can be redefined together. Meanwhile, the show’s subtitle, ‘[come closer and see]’, advocates for a certain tenderness within this dialogue, asking its viewers to take time and care when taking a closer look and forming opinions.
In many ways, this is what thinking ecologically is all about: uniting seemingly opposite qualities, blurring the boundaries and seeking balance between the natural and the cultural, the mind and the soul, the light and the dark, the feeling and the thought, the yin and the yang.
The exhibition takes its starting point from a new artwork by Yelena Popova: ‘Fern Flower’. This Jaquard-woven tapestry represents the mythological fern flower, which, according to Slavic and Baltic folklore, ‘brings good fortune, love and abundance, and allows humans to unlock secrets and to understand the language of animals and trees’. Yet this piece retains some of the highly geometric aesthetic of constructivist art from the Soviet era, so it’s as though Popova is trying to make sense of this mythological symbol through scientific means, thus bringing the spiritual into the realm of reason.
Another piece that encapsulates this exhibition’s essence beautifully is Danae Patsalou’s series entitled ‘Sun Glitter’. These small paintings of light shimmering across the surface of water are a reflection of Patsalou’s Cyprian heritage. Whilst the inhabitants of Cyprus have long been divided by political tensions, what irrefutably unites them as islanders is their relationship to the water that surrounds them. Both sides share views of the sea and can appreciate how the sun tessellates in the ripples on the water’s surface. No matter where one stands ideologically, anyone can revel in the simple, undeniable beauty of this phenomenon.
The message in Patsalou’s pieces is particularly poignant for anyone living in this current point in time: as political division spreads globally, it’s important to remember that there is more that unites us than divides us and that we all share these universal experiences of beauty. Meanwhile, as the effects of climate change are felt worldwide, it’s crucial that we advocate for dialogue and cooperation over division and blame. If we seek out the beauty that we want to preserve in both our natural and cultural world, we can use it to fuel positive action.
Singing to the Nanomeadow: In Conversation and Nature Ritual
Saturday 15 November, 12 pm
Ione and Mann will present a creative nature ritual featuring artists Yelena Popova, Alice Kemp, and Yuichiro Kikuma on the occasion of in spirit and truth [come closer and see], a group exhibition that explores opposing tensions inherent in balance within humankind’s fragile entanglement with the natural world.
Taking place in parallel with COP30, Art + Climate Week is a collaborative initiative from Gallery Climate Coalition and gowithYamo to amplify climate action in the arts. Its programme consists of art exhibitions and other events, including talks and workshops, which encourage visitors to think both critically and openly about climate change and our place within a changing world.
Emma Stibbon: ‘Melting Ice | Rising Tides’
Cristea Roberts Gallery
23 October - 22 November
In the latest iteration of Emma Stibbon’s touring exhibition ‘Melting Ice | Rising Tides’, the artist presents a series of paintings and prints depicting the sea and the coast at Cristea Roberts Gallery. From afar, there is a high degree of realism and a photographic quality to these works. And this illusionistic quality is even more pronounced in the show-stopping 'Rock Fall’, where rocks literally break out from the drawing of the cliff face at Bideford Bay onto the gallery floor. With its extraordinary physical presence, this piece lands the gallery visitors right in the midst of the cliffs of North Devon without having to set foot outside of Central London.
As reflected in its title, the themes broached in this exhibition are melting ice, rising tides, landslides, and erosion – all natural occurrences whose rates have accelerated by human-made climate change.
The sheer force of these phenomena can be felt in the marks that Stibbon employs: dynamic brushstrokes and paint splatters, ink seeping and spreading into the paper, scratched surfaces, and deep, dark washes of paint. When you step closer, Stibbon’s works distinctly set themselves apart from photography. These marks add texture, atmosphere, physicality and dynamism, so that one can feel the power of the wave and the softness of the surf viscerally.
Stibbon clearly has incredible technical mastery across different disciplines - drawing, painting, print-making, and sculpture now too. Her approach to making is joyful, and you can sense that Stibbon has a deep respect and appreciation for the natural environments that she depicts. In fact, her works almost operate like collaborations with those environments, as she often uses materials found in situ within the final pieces: in 'Breaker' she uses ink, sea salt and Eastbourne Sea Water; in ‘Rock Fall’, she uses North Devon sourced pigments on paper and mixed media; in ‘Birling Gap’ she uses ground cliff chalk and fabricated chalk; and in ‘Ice Front’ she uses watercolour, graphite and aluminium powder.
The results are mesmerising. The freezing cold, the tempest of the seas and the precarity of the landslides all come to life within Stibbon’s artwork and nature is reverently portrayed at its most sublime: at once beautiful and terrifying.
Artist Talk at Cristea Roberts Gallery
Thursday 13 November, 6 pm
CRG will present a panel discussion with exhibiting artist Emma Stibbon; Sara Cooper (Head of Collections and Exhibitions at Towner Eastbourne); and Dr Dylan Rood (Associate Professor in Geohazards at Imperial College London), about the themes in Stibbon’s new work.
Cristina Iglesias: ‘The Shore’
Hauser & Wirth
14 October - 20 December
It seems another group of rocks has landed in a London gallery nearby, but this time it’s Cristina Iglesias’s three bronze meteorites at Hauser & Wirth. Set within the deeply atmospheric, low-lit gallery space, these large metallic sculptures glow and draw the viewer in. Although the artworks are dotted around the space, the sound of the water emanating from the sculptures engulfs and unites the entirety of the space, compelling you towards them. Step closer and you’ll find yourself somewhere between the seashore and the underworld of science fiction.
These geological formations are a curious fusion of the organic and the sculptural, the built and the manmade. Their rock-like exterior is familiar, but their webbed interior feels alien. They are at once cold and warm, enticing and disturbing, inviting and repulsive, thus provoking visceral reactions from their viewers. In this sense, Iglesias’s work is a profound reflection on the ambivalent nature of our relationship with the natural, living world we inhabit.
‘in spirit and truth’ [come closer and see]
Ione + Mann
15 October - 29 November
For some, spirit and truth go hand in hand. For others, they are opposing qualities. The shimmering tension or harmony between the two is what this group show is about. By removing the capitals from these words within the exhibition title, these words are also stripped of the irrefutable authority and grandeur that they are usually associated with. Instead, visitors are invited to participate in a dialogue in which these terms can be redefined together. Meanwhile, the show’s subtitle, ‘[come closer and see]’, advocates for a certain tenderness within this dialogue, asking its viewers to take time and care when taking a closer look and forming opinions.
In many ways, this is what thinking ecologically is all about: uniting seemingly opposite qualities, blurring the boundaries and seeking balance between the natural and the cultural, the mind and the soul, the light and the dark, the feeling and the thought, the yin and the yang.
The exhibition takes its starting point from a new artwork by Yelena Popova: ‘Fern Flower’. This Jaquard-woven tapestry represents the mythological fern flower, which, according to Slavic and Baltic folklore, ‘brings good fortune, love and abundance, and allows humans to unlock secrets and to understand the language of animals and trees’. Yet this piece retains some of the highly geometric aesthetic of constructivist art from the Soviet era, so it’s as though Popova is trying to make sense of this mythological symbol through scientific means, thus bringing the spiritual into the realm of reason.
Another piece that encapsulates this exhibition’s essence beautifully is Danae Patsalou’s series entitled ‘Sun Glitter’. These small paintings of light shimmering across the surface of water are a reflection of Patsalou’s Cyprian heritage. Whilst the inhabitants of Cyprus have long been divided by political tensions, what irrefutably unites them as islanders is their relationship to the water that surrounds them. Both sides share views of the sea and can appreciate how the sun tessellates in the ripples on the water’s surface. No matter where one stands ideologically, anyone can revel in the simple, undeniable beauty of this phenomenon.
The message in Patsalou’s pieces is particularly poignant for anyone living in this current point in time: as political division spreads globally, it’s important to remember that there is more that unites us than divides us and that we all share these universal experiences of beauty. Meanwhile, as the effects of climate change are felt worldwide, it’s crucial that we advocate for dialogue and cooperation over division and blame. If we seek out the beauty that we want to preserve in both our natural and cultural world, we can use it to fuel positive action.
Singing to the Nanomeadow: In Conversation and Nature Ritual
Saturday 15 November, 12 pm
Ione and Mann will present a creative nature ritual featuring artists Yelena Popova, Alice Kemp, and Yuichiro Kikuma on the occasion of in spirit and truth [come closer and see], a group exhibition that explores opposing tensions inherent in balance within humankind’s fragile entanglement with the natural world.
Taking place in parallel with COP30, Art + Climate Week is a collaborative initiative from Gallery Climate Coalition and gowithYamo to amplify climate action in the arts. Its programme consists of art exhibitions and other events, including talks and workshops, which encourage visitors to think both critically and openly about climate change and our place within a changing world.
Emma Stibbon: ‘Melting Ice | Rising Tides’
Cristea Roberts Gallery
23 October - 22 November
In the latest iteration of Emma Stibbon’s touring exhibition ‘Melting Ice | Rising Tides’, the artist presents a series of paintings and prints depicting the sea and the coast at Cristea Roberts Gallery. From afar, there is a high degree of realism and a photographic quality to these works. And this illusionistic quality is even more pronounced in the show-stopping 'Rock Fall’, where rocks literally break out from the drawing of the cliff face at Bideford Bay onto the gallery floor. With its extraordinary physical presence, this piece lands the gallery visitors right in the midst of the cliffs of North Devon without having to set foot outside of Central London.
As reflected in its title, the themes broached in this exhibition are melting ice, rising tides, landslides, and erosion – all natural occurrences whose rates have accelerated by human-made climate change.
The sheer force of these phenomena can be felt in the marks that Stibbon employs: dynamic brushstrokes and paint splatters, ink seeping and spreading into the paper, scratched surfaces, and deep, dark washes of paint. When you step closer, Stibbon’s works distinctly set themselves apart from photography. These marks add texture, atmosphere, physicality and dynamism, so that one can feel the power of the wave and the softness of the surf viscerally.
Stibbon clearly has incredible technical mastery across different disciplines - drawing, painting, print-making, and sculpture now too. Her approach to making is joyful, and you can sense that Stibbon has a deep respect and appreciation for the natural environments that she depicts. In fact, her works almost operate like collaborations with those environments, as she often uses materials found in situ within the final pieces: in 'Breaker' she uses ink, sea salt and Eastbourne Sea Water; in ‘Rock Fall’, she uses North Devon sourced pigments on paper and mixed media; in ‘Birling Gap’ she uses ground cliff chalk and fabricated chalk; and in ‘Ice Front’ she uses watercolour, graphite and aluminium powder.
The results are mesmerising. The freezing cold, the tempest of the seas and the precarity of the landslides all come to life within Stibbon’s artwork and nature is reverently portrayed at its most sublime: at once beautiful and terrifying.
Artist Talk at Cristea Roberts Gallery
Thursday 13 November, 6 pm
CRG will present a panel discussion with exhibiting artist Emma Stibbon; Sara Cooper (Head of Collections and Exhibitions at Towner Eastbourne); and Dr Dylan Rood (Associate Professor in Geohazards at Imperial College London), about the themes in Stibbon’s new work.
Cristina Iglesias: ‘The Shore’
Hauser & Wirth
14 October - 20 December
It seems another group of rocks has landed in a London gallery nearby, but this time it’s Cristina Iglesias’s three bronze meteorites at Hauser & Wirth. Set within the deeply atmospheric, low-lit gallery space, these large metallic sculptures glow and draw the viewer in. Although the artworks are dotted around the space, the sound of the water emanating from the sculptures engulfs and unites the entirety of the space, compelling you towards them. Step closer and you’ll find yourself somewhere between the seashore and the underworld of science fiction.
These geological formations are a curious fusion of the organic and the sculptural, the built and the manmade. Their rock-like exterior is familiar, but their webbed interior feels alien. They are at once cold and warm, enticing and disturbing, inviting and repulsive, thus provoking visceral reactions from their viewers. In this sense, Iglesias’s work is a profound reflection on the ambivalent nature of our relationship with the natural, living world we inhabit.
‘in spirit and truth’ [come closer and see]
Ione + Mann
15 October - 29 November
For some, spirit and truth go hand in hand. For others, they are opposing qualities. The shimmering tension or harmony between the two is what this group show is about. By removing the capitals from these words within the exhibition title, these words are also stripped of the irrefutable authority and grandeur that they are usually associated with. Instead, visitors are invited to participate in a dialogue in which these terms can be redefined together. Meanwhile, the show’s subtitle, ‘[come closer and see]’, advocates for a certain tenderness within this dialogue, asking its viewers to take time and care when taking a closer look and forming opinions.
In many ways, this is what thinking ecologically is all about: uniting seemingly opposite qualities, blurring the boundaries and seeking balance between the natural and the cultural, the mind and the soul, the light and the dark, the feeling and the thought, the yin and the yang.
The exhibition takes its starting point from a new artwork by Yelena Popova: ‘Fern Flower’. This Jaquard-woven tapestry represents the mythological fern flower, which, according to Slavic and Baltic folklore, ‘brings good fortune, love and abundance, and allows humans to unlock secrets and to understand the language of animals and trees’. Yet this piece retains some of the highly geometric aesthetic of constructivist art from the Soviet era, so it’s as though Popova is trying to make sense of this mythological symbol through scientific means, thus bringing the spiritual into the realm of reason.
Another piece that encapsulates this exhibition’s essence beautifully is Danae Patsalou’s series entitled ‘Sun Glitter’. These small paintings of light shimmering across the surface of water are a reflection of Patsalou’s Cyprian heritage. Whilst the inhabitants of Cyprus have long been divided by political tensions, what irrefutably unites them as islanders is their relationship to the water that surrounds them. Both sides share views of the sea and can appreciate how the sun tessellates in the ripples on the water’s surface. No matter where one stands ideologically, anyone can revel in the simple, undeniable beauty of this phenomenon.
The message in Patsalou’s pieces is particularly poignant for anyone living in this current point in time: as political division spreads globally, it’s important to remember that there is more that unites us than divides us and that we all share these universal experiences of beauty. Meanwhile, as the effects of climate change are felt worldwide, it’s crucial that we advocate for dialogue and cooperation over division and blame. If we seek out the beauty that we want to preserve in both our natural and cultural world, we can use it to fuel positive action.
Singing to the Nanomeadow: In Conversation and Nature Ritual
Saturday 15 November, 12 pm
Ione and Mann will present a creative nature ritual featuring artists Yelena Popova, Alice Kemp, and Yuichiro Kikuma on the occasion of in spirit and truth [come closer and see], a group exhibition that explores opposing tensions inherent in balance within humankind’s fragile entanglement with the natural world.
.png)
.svg){kind=logo}
