Entangled (29 March – 11 May 2025) at Saatchi Gallery is a multidisciplinary exhibition with nine of Liminal Gallery’s contemporary artists, showcasing paintings, drawings, ceramics, and sculpture. The artists are brought together under the themes of interconnectedness, vulnerability, spirituality, and coexistence, as they explore lived experiences shaped by culture, history, and emotion. Naturally, the questions this leads them to are those of responsibility, belonging, and time. The exhibition attempts to understand what connects us to each other and the ecosystems we inhabit.
The theme of this exhibition is well-articulated in Henrietta Armstrong’s Fossil Tree (2023). The fallen tree trunk lies in the centre of the large, white room, a sharp contrast that highlights nature’s ephemerality. The trunk is cast from an oak uprooted by the violent storms of early 2021, preserved in artificial permanence with aluminium and fibreglass. Everything about this piece - its hard gel coating, its slight tilt after being uprooted and its faded dark colour - all explore themes of deforestation, destruction, climate change and not just nature’s fragility but our reliance and inextricable ties to the natural world. The tree stands almost haunting in this space, as though it were forced to confine itself to the room's boundaries, held and watched, when it is meant to grow. It is a sharp reminder that its survival and humanity’s survival are entangled.
Mercedes Workman’s 2025 sculpture, Golden Hands, explores a similar theme of interconnectedness, focusing on the joy and strength that community and belonging bring. Cleverly crafted as both an artwork and an earthenware ceramic pot with a lid, the golden work shines under the bright, white lights. The piece presents many hands intertwined, clasping onto each other, creating a strong and hardy sculpture that looks like it can survive the test of time. The sculpture is detailed, curving along the shape of each finger and bending in each finger, looking different from each angle.
The artwork on the wall includes Anna Blom’s Fasciae (2024), a canvas painting made from acrylics, raw pigments and situational debris - an element the Swedish, interdisciplinary artist is known to add to her work. Blom has a Master's in Painting from the Royal College of Art, where she studied the “nuances of isolated mundane moments, discovering the overlooked emotions and unseen objects that occupy our meticulously assembled environment”. Blom’s work is focused on our connection with our surroundings and how we inhabit different spaces and environments, changing physically and emotionally. With deep pinks, reds and browns, fading into one another on the canvas, there is something captivating about Blom’s work. The colours all appear to be in a state of flux, almost ready to swirl around the canvas at any moment. They connect, separate, and blend into each other, commenting again on the thread that ties humanity and nature together.
Along with Entangled, Saatchi Gallery is also hosting two other, free exhibitions - The Thread of Colour, celebrating the life and works of Armenian-American artist Maro Gorky and BLAST, an exhibition that showcases new works by artist, Dominic Beattie. Beattie's work is inspired by 20th-century geometric abstraction and uses a myriad of colours, all clashing with each other at different angles. While appearing like a painting from afar, each work is made from many wooden panels fixed haphazardly onto each other and spray painted in vivacious shades of colours, focusing on reds, yellows and blues. Gorky’s work in the adjacent room similarly uses vibrant colours, but each painting moves between abstraction and realism - brought with her focus on portraiture.
An oil painting on canvas titled Beirut is Burning (1982) focuses on a woman staring directly at the audience as she sits on a sofa in a white dress embellished with flowers and ruffles. Her right arm is on her knee while her left arm rests on the long sofa cushion, almost like she is sitting on a throne. The image is confrontational, her body language is relaxed but distressed, and the background landscape is of burning fields and rising smoke. The sense of calm in the painting creates an uneasy tension, with the audience being conceived as the perpetrator.
While the three exhibitions do not overlap in the themes they explore, they all use bright and vivacious colours, celebrating the arrival of spring at the Saatchi Gallery, alongside their main exhibition with ticketed entrance, Flowers - Flora in contemporary art and culture, on view till 5 May.
Entangled (29 March – 11 May 2025) at Saatchi Gallery is a multidisciplinary exhibition with nine of Liminal Gallery’s contemporary artists, showcasing paintings, drawings, ceramics, and sculpture. The artists are brought together under the themes of interconnectedness, vulnerability, spirituality, and coexistence, as they explore lived experiences shaped by culture, history, and emotion. Naturally, the questions this leads them to are those of responsibility, belonging, and time. The exhibition attempts to understand what connects us to each other and the ecosystems we inhabit.
The theme of this exhibition is well-articulated in Henrietta Armstrong’s Fossil Tree (2023). The fallen tree trunk lies in the centre of the large, white room, a sharp contrast that highlights nature’s ephemerality. The trunk is cast from an oak uprooted by the violent storms of early 2021, preserved in artificial permanence with aluminium and fibreglass. Everything about this piece - its hard gel coating, its slight tilt after being uprooted and its faded dark colour - all explore themes of deforestation, destruction, climate change and not just nature’s fragility but our reliance and inextricable ties to the natural world. The tree stands almost haunting in this space, as though it were forced to confine itself to the room's boundaries, held and watched, when it is meant to grow. It is a sharp reminder that its survival and humanity’s survival are entangled.
Mercedes Workman’s 2025 sculpture, Golden Hands, explores a similar theme of interconnectedness, focusing on the joy and strength that community and belonging bring. Cleverly crafted as both an artwork and an earthenware ceramic pot with a lid, the golden work shines under the bright, white lights. The piece presents many hands intertwined, clasping onto each other, creating a strong and hardy sculpture that looks like it can survive the test of time. The sculpture is detailed, curving along the shape of each finger and bending in each finger, looking different from each angle.
The artwork on the wall includes Anna Blom’s Fasciae (2024), a canvas painting made from acrylics, raw pigments and situational debris - an element the Swedish, interdisciplinary artist is known to add to her work. Blom has a Master's in Painting from the Royal College of Art, where she studied the “nuances of isolated mundane moments, discovering the overlooked emotions and unseen objects that occupy our meticulously assembled environment”. Blom’s work is focused on our connection with our surroundings and how we inhabit different spaces and environments, changing physically and emotionally. With deep pinks, reds and browns, fading into one another on the canvas, there is something captivating about Blom’s work. The colours all appear to be in a state of flux, almost ready to swirl around the canvas at any moment. They connect, separate, and blend into each other, commenting again on the thread that ties humanity and nature together.
Along with Entangled, Saatchi Gallery is also hosting two other, free exhibitions - The Thread of Colour, celebrating the life and works of Armenian-American artist Maro Gorky and BLAST, an exhibition that showcases new works by artist, Dominic Beattie. Beattie's work is inspired by 20th-century geometric abstraction and uses a myriad of colours, all clashing with each other at different angles. While appearing like a painting from afar, each work is made from many wooden panels fixed haphazardly onto each other and spray painted in vivacious shades of colours, focusing on reds, yellows and blues. Gorky’s work in the adjacent room similarly uses vibrant colours, but each painting moves between abstraction and realism - brought with her focus on portraiture.
An oil painting on canvas titled Beirut is Burning (1982) focuses on a woman staring directly at the audience as she sits on a sofa in a white dress embellished with flowers and ruffles. Her right arm is on her knee while her left arm rests on the long sofa cushion, almost like she is sitting on a throne. The image is confrontational, her body language is relaxed but distressed, and the background landscape is of burning fields and rising smoke. The sense of calm in the painting creates an uneasy tension, with the audience being conceived as the perpetrator.
While the three exhibitions do not overlap in the themes they explore, they all use bright and vivacious colours, celebrating the arrival of spring at the Saatchi Gallery, alongside their main exhibition with ticketed entrance, Flowers - Flora in contemporary art and culture, on view till 5 May.
Entangled (29 March – 11 May 2025) at Saatchi Gallery is a multidisciplinary exhibition with nine of Liminal Gallery’s contemporary artists, showcasing paintings, drawings, ceramics, and sculpture. The artists are brought together under the themes of interconnectedness, vulnerability, spirituality, and coexistence, as they explore lived experiences shaped by culture, history, and emotion. Naturally, the questions this leads them to are those of responsibility, belonging, and time. The exhibition attempts to understand what connects us to each other and the ecosystems we inhabit.
The theme of this exhibition is well-articulated in Henrietta Armstrong’s Fossil Tree (2023). The fallen tree trunk lies in the centre of the large, white room, a sharp contrast that highlights nature’s ephemerality. The trunk is cast from an oak uprooted by the violent storms of early 2021, preserved in artificial permanence with aluminium and fibreglass. Everything about this piece - its hard gel coating, its slight tilt after being uprooted and its faded dark colour - all explore themes of deforestation, destruction, climate change and not just nature’s fragility but our reliance and inextricable ties to the natural world. The tree stands almost haunting in this space, as though it were forced to confine itself to the room's boundaries, held and watched, when it is meant to grow. It is a sharp reminder that its survival and humanity’s survival are entangled.
Mercedes Workman’s 2025 sculpture, Golden Hands, explores a similar theme of interconnectedness, focusing on the joy and strength that community and belonging bring. Cleverly crafted as both an artwork and an earthenware ceramic pot with a lid, the golden work shines under the bright, white lights. The piece presents many hands intertwined, clasping onto each other, creating a strong and hardy sculpture that looks like it can survive the test of time. The sculpture is detailed, curving along the shape of each finger and bending in each finger, looking different from each angle.
The artwork on the wall includes Anna Blom’s Fasciae (2024), a canvas painting made from acrylics, raw pigments and situational debris - an element the Swedish, interdisciplinary artist is known to add to her work. Blom has a Master's in Painting from the Royal College of Art, where she studied the “nuances of isolated mundane moments, discovering the overlooked emotions and unseen objects that occupy our meticulously assembled environment”. Blom’s work is focused on our connection with our surroundings and how we inhabit different spaces and environments, changing physically and emotionally. With deep pinks, reds and browns, fading into one another on the canvas, there is something captivating about Blom’s work. The colours all appear to be in a state of flux, almost ready to swirl around the canvas at any moment. They connect, separate, and blend into each other, commenting again on the thread that ties humanity and nature together.
Along with Entangled, Saatchi Gallery is also hosting two other, free exhibitions - The Thread of Colour, celebrating the life and works of Armenian-American artist Maro Gorky and BLAST, an exhibition that showcases new works by artist, Dominic Beattie. Beattie's work is inspired by 20th-century geometric abstraction and uses a myriad of colours, all clashing with each other at different angles. While appearing like a painting from afar, each work is made from many wooden panels fixed haphazardly onto each other and spray painted in vivacious shades of colours, focusing on reds, yellows and blues. Gorky’s work in the adjacent room similarly uses vibrant colours, but each painting moves between abstraction and realism - brought with her focus on portraiture.
An oil painting on canvas titled Beirut is Burning (1982) focuses on a woman staring directly at the audience as she sits on a sofa in a white dress embellished with flowers and ruffles. Her right arm is on her knee while her left arm rests on the long sofa cushion, almost like she is sitting on a throne. The image is confrontational, her body language is relaxed but distressed, and the background landscape is of burning fields and rising smoke. The sense of calm in the painting creates an uneasy tension, with the audience being conceived as the perpetrator.
While the three exhibitions do not overlap in the themes they explore, they all use bright and vivacious colours, celebrating the arrival of spring at the Saatchi Gallery, alongside their main exhibition with ticketed entrance, Flowers - Flora in contemporary art and culture, on view till 5 May.
Entangled (29 March – 11 May 2025) at Saatchi Gallery is a multidisciplinary exhibition with nine of Liminal Gallery’s contemporary artists, showcasing paintings, drawings, ceramics, and sculpture. The artists are brought together under the themes of interconnectedness, vulnerability, spirituality, and coexistence, as they explore lived experiences shaped by culture, history, and emotion. Naturally, the questions this leads them to are those of responsibility, belonging, and time. The exhibition attempts to understand what connects us to each other and the ecosystems we inhabit.
The theme of this exhibition is well-articulated in Henrietta Armstrong’s Fossil Tree (2023). The fallen tree trunk lies in the centre of the large, white room, a sharp contrast that highlights nature’s ephemerality. The trunk is cast from an oak uprooted by the violent storms of early 2021, preserved in artificial permanence with aluminium and fibreglass. Everything about this piece - its hard gel coating, its slight tilt after being uprooted and its faded dark colour - all explore themes of deforestation, destruction, climate change and not just nature’s fragility but our reliance and inextricable ties to the natural world. The tree stands almost haunting in this space, as though it were forced to confine itself to the room's boundaries, held and watched, when it is meant to grow. It is a sharp reminder that its survival and humanity’s survival are entangled.
Mercedes Workman’s 2025 sculpture, Golden Hands, explores a similar theme of interconnectedness, focusing on the joy and strength that community and belonging bring. Cleverly crafted as both an artwork and an earthenware ceramic pot with a lid, the golden work shines under the bright, white lights. The piece presents many hands intertwined, clasping onto each other, creating a strong and hardy sculpture that looks like it can survive the test of time. The sculpture is detailed, curving along the shape of each finger and bending in each finger, looking different from each angle.
The artwork on the wall includes Anna Blom’s Fasciae (2024), a canvas painting made from acrylics, raw pigments and situational debris - an element the Swedish, interdisciplinary artist is known to add to her work. Blom has a Master's in Painting from the Royal College of Art, where she studied the “nuances of isolated mundane moments, discovering the overlooked emotions and unseen objects that occupy our meticulously assembled environment”. Blom’s work is focused on our connection with our surroundings and how we inhabit different spaces and environments, changing physically and emotionally. With deep pinks, reds and browns, fading into one another on the canvas, there is something captivating about Blom’s work. The colours all appear to be in a state of flux, almost ready to swirl around the canvas at any moment. They connect, separate, and blend into each other, commenting again on the thread that ties humanity and nature together.
Along with Entangled, Saatchi Gallery is also hosting two other, free exhibitions - The Thread of Colour, celebrating the life and works of Armenian-American artist Maro Gorky and BLAST, an exhibition that showcases new works by artist, Dominic Beattie. Beattie's work is inspired by 20th-century geometric abstraction and uses a myriad of colours, all clashing with each other at different angles. While appearing like a painting from afar, each work is made from many wooden panels fixed haphazardly onto each other and spray painted in vivacious shades of colours, focusing on reds, yellows and blues. Gorky’s work in the adjacent room similarly uses vibrant colours, but each painting moves between abstraction and realism - brought with her focus on portraiture.
An oil painting on canvas titled Beirut is Burning (1982) focuses on a woman staring directly at the audience as she sits on a sofa in a white dress embellished with flowers and ruffles. Her right arm is on her knee while her left arm rests on the long sofa cushion, almost like she is sitting on a throne. The image is confrontational, her body language is relaxed but distressed, and the background landscape is of burning fields and rising smoke. The sense of calm in the painting creates an uneasy tension, with the audience being conceived as the perpetrator.
While the three exhibitions do not overlap in the themes they explore, they all use bright and vivacious colours, celebrating the arrival of spring at the Saatchi Gallery, alongside their main exhibition with ticketed entrance, Flowers - Flora in contemporary art and culture, on view till 5 May.
Entangled (29 March – 11 May 2025) at Saatchi Gallery is a multidisciplinary exhibition with nine of Liminal Gallery’s contemporary artists, showcasing paintings, drawings, ceramics, and sculpture. The artists are brought together under the themes of interconnectedness, vulnerability, spirituality, and coexistence, as they explore lived experiences shaped by culture, history, and emotion. Naturally, the questions this leads them to are those of responsibility, belonging, and time. The exhibition attempts to understand what connects us to each other and the ecosystems we inhabit.
The theme of this exhibition is well-articulated in Henrietta Armstrong’s Fossil Tree (2023). The fallen tree trunk lies in the centre of the large, white room, a sharp contrast that highlights nature’s ephemerality. The trunk is cast from an oak uprooted by the violent storms of early 2021, preserved in artificial permanence with aluminium and fibreglass. Everything about this piece - its hard gel coating, its slight tilt after being uprooted and its faded dark colour - all explore themes of deforestation, destruction, climate change and not just nature’s fragility but our reliance and inextricable ties to the natural world. The tree stands almost haunting in this space, as though it were forced to confine itself to the room's boundaries, held and watched, when it is meant to grow. It is a sharp reminder that its survival and humanity’s survival are entangled.
Mercedes Workman’s 2025 sculpture, Golden Hands, explores a similar theme of interconnectedness, focusing on the joy and strength that community and belonging bring. Cleverly crafted as both an artwork and an earthenware ceramic pot with a lid, the golden work shines under the bright, white lights. The piece presents many hands intertwined, clasping onto each other, creating a strong and hardy sculpture that looks like it can survive the test of time. The sculpture is detailed, curving along the shape of each finger and bending in each finger, looking different from each angle.
The artwork on the wall includes Anna Blom’s Fasciae (2024), a canvas painting made from acrylics, raw pigments and situational debris - an element the Swedish, interdisciplinary artist is known to add to her work. Blom has a Master's in Painting from the Royal College of Art, where she studied the “nuances of isolated mundane moments, discovering the overlooked emotions and unseen objects that occupy our meticulously assembled environment”. Blom’s work is focused on our connection with our surroundings and how we inhabit different spaces and environments, changing physically and emotionally. With deep pinks, reds and browns, fading into one another on the canvas, there is something captivating about Blom’s work. The colours all appear to be in a state of flux, almost ready to swirl around the canvas at any moment. They connect, separate, and blend into each other, commenting again on the thread that ties humanity and nature together.
Along with Entangled, Saatchi Gallery is also hosting two other, free exhibitions - The Thread of Colour, celebrating the life and works of Armenian-American artist Maro Gorky and BLAST, an exhibition that showcases new works by artist, Dominic Beattie. Beattie's work is inspired by 20th-century geometric abstraction and uses a myriad of colours, all clashing with each other at different angles. While appearing like a painting from afar, each work is made from many wooden panels fixed haphazardly onto each other and spray painted in vivacious shades of colours, focusing on reds, yellows and blues. Gorky’s work in the adjacent room similarly uses vibrant colours, but each painting moves between abstraction and realism - brought with her focus on portraiture.
An oil painting on canvas titled Beirut is Burning (1982) focuses on a woman staring directly at the audience as she sits on a sofa in a white dress embellished with flowers and ruffles. Her right arm is on her knee while her left arm rests on the long sofa cushion, almost like she is sitting on a throne. The image is confrontational, her body language is relaxed but distressed, and the background landscape is of burning fields and rising smoke. The sense of calm in the painting creates an uneasy tension, with the audience being conceived as the perpetrator.
While the three exhibitions do not overlap in the themes they explore, they all use bright and vivacious colours, celebrating the arrival of spring at the Saatchi Gallery, alongside their main exhibition with ticketed entrance, Flowers - Flora in contemporary art and culture, on view till 5 May.
Entangled (29 March – 11 May 2025) at Saatchi Gallery is a multidisciplinary exhibition with nine of Liminal Gallery’s contemporary artists, showcasing paintings, drawings, ceramics, and sculpture. The artists are brought together under the themes of interconnectedness, vulnerability, spirituality, and coexistence, as they explore lived experiences shaped by culture, history, and emotion. Naturally, the questions this leads them to are those of responsibility, belonging, and time. The exhibition attempts to understand what connects us to each other and the ecosystems we inhabit.
The theme of this exhibition is well-articulated in Henrietta Armstrong’s Fossil Tree (2023). The fallen tree trunk lies in the centre of the large, white room, a sharp contrast that highlights nature’s ephemerality. The trunk is cast from an oak uprooted by the violent storms of early 2021, preserved in artificial permanence with aluminium and fibreglass. Everything about this piece - its hard gel coating, its slight tilt after being uprooted and its faded dark colour - all explore themes of deforestation, destruction, climate change and not just nature’s fragility but our reliance and inextricable ties to the natural world. The tree stands almost haunting in this space, as though it were forced to confine itself to the room's boundaries, held and watched, when it is meant to grow. It is a sharp reminder that its survival and humanity’s survival are entangled.
Mercedes Workman’s 2025 sculpture, Golden Hands, explores a similar theme of interconnectedness, focusing on the joy and strength that community and belonging bring. Cleverly crafted as both an artwork and an earthenware ceramic pot with a lid, the golden work shines under the bright, white lights. The piece presents many hands intertwined, clasping onto each other, creating a strong and hardy sculpture that looks like it can survive the test of time. The sculpture is detailed, curving along the shape of each finger and bending in each finger, looking different from each angle.
The artwork on the wall includes Anna Blom’s Fasciae (2024), a canvas painting made from acrylics, raw pigments and situational debris - an element the Swedish, interdisciplinary artist is known to add to her work. Blom has a Master's in Painting from the Royal College of Art, where she studied the “nuances of isolated mundane moments, discovering the overlooked emotions and unseen objects that occupy our meticulously assembled environment”. Blom’s work is focused on our connection with our surroundings and how we inhabit different spaces and environments, changing physically and emotionally. With deep pinks, reds and browns, fading into one another on the canvas, there is something captivating about Blom’s work. The colours all appear to be in a state of flux, almost ready to swirl around the canvas at any moment. They connect, separate, and blend into each other, commenting again on the thread that ties humanity and nature together.
Along with Entangled, Saatchi Gallery is also hosting two other, free exhibitions - The Thread of Colour, celebrating the life and works of Armenian-American artist Maro Gorky and BLAST, an exhibition that showcases new works by artist, Dominic Beattie. Beattie's work is inspired by 20th-century geometric abstraction and uses a myriad of colours, all clashing with each other at different angles. While appearing like a painting from afar, each work is made from many wooden panels fixed haphazardly onto each other and spray painted in vivacious shades of colours, focusing on reds, yellows and blues. Gorky’s work in the adjacent room similarly uses vibrant colours, but each painting moves between abstraction and realism - brought with her focus on portraiture.
An oil painting on canvas titled Beirut is Burning (1982) focuses on a woman staring directly at the audience as she sits on a sofa in a white dress embellished with flowers and ruffles. Her right arm is on her knee while her left arm rests on the long sofa cushion, almost like she is sitting on a throne. The image is confrontational, her body language is relaxed but distressed, and the background landscape is of burning fields and rising smoke. The sense of calm in the painting creates an uneasy tension, with the audience being conceived as the perpetrator.
While the three exhibitions do not overlap in the themes they explore, they all use bright and vivacious colours, celebrating the arrival of spring at the Saatchi Gallery, alongside their main exhibition with ticketed entrance, Flowers - Flora in contemporary art and culture, on view till 5 May.
Entangled (29 March – 11 May 2025) at Saatchi Gallery is a multidisciplinary exhibition with nine of Liminal Gallery’s contemporary artists, showcasing paintings, drawings, ceramics, and sculpture. The artists are brought together under the themes of interconnectedness, vulnerability, spirituality, and coexistence, as they explore lived experiences shaped by culture, history, and emotion. Naturally, the questions this leads them to are those of responsibility, belonging, and time. The exhibition attempts to understand what connects us to each other and the ecosystems we inhabit.
The theme of this exhibition is well-articulated in Henrietta Armstrong’s Fossil Tree (2023). The fallen tree trunk lies in the centre of the large, white room, a sharp contrast that highlights nature’s ephemerality. The trunk is cast from an oak uprooted by the violent storms of early 2021, preserved in artificial permanence with aluminium and fibreglass. Everything about this piece - its hard gel coating, its slight tilt after being uprooted and its faded dark colour - all explore themes of deforestation, destruction, climate change and not just nature’s fragility but our reliance and inextricable ties to the natural world. The tree stands almost haunting in this space, as though it were forced to confine itself to the room's boundaries, held and watched, when it is meant to grow. It is a sharp reminder that its survival and humanity’s survival are entangled.
Mercedes Workman’s 2025 sculpture, Golden Hands, explores a similar theme of interconnectedness, focusing on the joy and strength that community and belonging bring. Cleverly crafted as both an artwork and an earthenware ceramic pot with a lid, the golden work shines under the bright, white lights. The piece presents many hands intertwined, clasping onto each other, creating a strong and hardy sculpture that looks like it can survive the test of time. The sculpture is detailed, curving along the shape of each finger and bending in each finger, looking different from each angle.
The artwork on the wall includes Anna Blom’s Fasciae (2024), a canvas painting made from acrylics, raw pigments and situational debris - an element the Swedish, interdisciplinary artist is known to add to her work. Blom has a Master's in Painting from the Royal College of Art, where she studied the “nuances of isolated mundane moments, discovering the overlooked emotions and unseen objects that occupy our meticulously assembled environment”. Blom’s work is focused on our connection with our surroundings and how we inhabit different spaces and environments, changing physically and emotionally. With deep pinks, reds and browns, fading into one another on the canvas, there is something captivating about Blom’s work. The colours all appear to be in a state of flux, almost ready to swirl around the canvas at any moment. They connect, separate, and blend into each other, commenting again on the thread that ties humanity and nature together.
Along with Entangled, Saatchi Gallery is also hosting two other, free exhibitions - The Thread of Colour, celebrating the life and works of Armenian-American artist Maro Gorky and BLAST, an exhibition that showcases new works by artist, Dominic Beattie. Beattie's work is inspired by 20th-century geometric abstraction and uses a myriad of colours, all clashing with each other at different angles. While appearing like a painting from afar, each work is made from many wooden panels fixed haphazardly onto each other and spray painted in vivacious shades of colours, focusing on reds, yellows and blues. Gorky’s work in the adjacent room similarly uses vibrant colours, but each painting moves between abstraction and realism - brought with her focus on portraiture.
An oil painting on canvas titled Beirut is Burning (1982) focuses on a woman staring directly at the audience as she sits on a sofa in a white dress embellished with flowers and ruffles. Her right arm is on her knee while her left arm rests on the long sofa cushion, almost like she is sitting on a throne. The image is confrontational, her body language is relaxed but distressed, and the background landscape is of burning fields and rising smoke. The sense of calm in the painting creates an uneasy tension, with the audience being conceived as the perpetrator.
While the three exhibitions do not overlap in the themes they explore, they all use bright and vivacious colours, celebrating the arrival of spring at the Saatchi Gallery, alongside their main exhibition with ticketed entrance, Flowers - Flora in contemporary art and culture, on view till 5 May.
Entangled (29 March – 11 May 2025) at Saatchi Gallery is a multidisciplinary exhibition with nine of Liminal Gallery’s contemporary artists, showcasing paintings, drawings, ceramics, and sculpture. The artists are brought together under the themes of interconnectedness, vulnerability, spirituality, and coexistence, as they explore lived experiences shaped by culture, history, and emotion. Naturally, the questions this leads them to are those of responsibility, belonging, and time. The exhibition attempts to understand what connects us to each other and the ecosystems we inhabit.
The theme of this exhibition is well-articulated in Henrietta Armstrong’s Fossil Tree (2023). The fallen tree trunk lies in the centre of the large, white room, a sharp contrast that highlights nature’s ephemerality. The trunk is cast from an oak uprooted by the violent storms of early 2021, preserved in artificial permanence with aluminium and fibreglass. Everything about this piece - its hard gel coating, its slight tilt after being uprooted and its faded dark colour - all explore themes of deforestation, destruction, climate change and not just nature’s fragility but our reliance and inextricable ties to the natural world. The tree stands almost haunting in this space, as though it were forced to confine itself to the room's boundaries, held and watched, when it is meant to grow. It is a sharp reminder that its survival and humanity’s survival are entangled.
Mercedes Workman’s 2025 sculpture, Golden Hands, explores a similar theme of interconnectedness, focusing on the joy and strength that community and belonging bring. Cleverly crafted as both an artwork and an earthenware ceramic pot with a lid, the golden work shines under the bright, white lights. The piece presents many hands intertwined, clasping onto each other, creating a strong and hardy sculpture that looks like it can survive the test of time. The sculpture is detailed, curving along the shape of each finger and bending in each finger, looking different from each angle.
The artwork on the wall includes Anna Blom’s Fasciae (2024), a canvas painting made from acrylics, raw pigments and situational debris - an element the Swedish, interdisciplinary artist is known to add to her work. Blom has a Master's in Painting from the Royal College of Art, where she studied the “nuances of isolated mundane moments, discovering the overlooked emotions and unseen objects that occupy our meticulously assembled environment”. Blom’s work is focused on our connection with our surroundings and how we inhabit different spaces and environments, changing physically and emotionally. With deep pinks, reds and browns, fading into one another on the canvas, there is something captivating about Blom’s work. The colours all appear to be in a state of flux, almost ready to swirl around the canvas at any moment. They connect, separate, and blend into each other, commenting again on the thread that ties humanity and nature together.
Along with Entangled, Saatchi Gallery is also hosting two other, free exhibitions - The Thread of Colour, celebrating the life and works of Armenian-American artist Maro Gorky and BLAST, an exhibition that showcases new works by artist, Dominic Beattie. Beattie's work is inspired by 20th-century geometric abstraction and uses a myriad of colours, all clashing with each other at different angles. While appearing like a painting from afar, each work is made from many wooden panels fixed haphazardly onto each other and spray painted in vivacious shades of colours, focusing on reds, yellows and blues. Gorky’s work in the adjacent room similarly uses vibrant colours, but each painting moves between abstraction and realism - brought with her focus on portraiture.
An oil painting on canvas titled Beirut is Burning (1982) focuses on a woman staring directly at the audience as she sits on a sofa in a white dress embellished with flowers and ruffles. Her right arm is on her knee while her left arm rests on the long sofa cushion, almost like she is sitting on a throne. The image is confrontational, her body language is relaxed but distressed, and the background landscape is of burning fields and rising smoke. The sense of calm in the painting creates an uneasy tension, with the audience being conceived as the perpetrator.
While the three exhibitions do not overlap in the themes they explore, they all use bright and vivacious colours, celebrating the arrival of spring at the Saatchi Gallery, alongside their main exhibition with ticketed entrance, Flowers - Flora in contemporary art and culture, on view till 5 May.
Entangled (29 March – 11 May 2025) at Saatchi Gallery is a multidisciplinary exhibition with nine of Liminal Gallery’s contemporary artists, showcasing paintings, drawings, ceramics, and sculpture. The artists are brought together under the themes of interconnectedness, vulnerability, spirituality, and coexistence, as they explore lived experiences shaped by culture, history, and emotion. Naturally, the questions this leads them to are those of responsibility, belonging, and time. The exhibition attempts to understand what connects us to each other and the ecosystems we inhabit.
The theme of this exhibition is well-articulated in Henrietta Armstrong’s Fossil Tree (2023). The fallen tree trunk lies in the centre of the large, white room, a sharp contrast that highlights nature’s ephemerality. The trunk is cast from an oak uprooted by the violent storms of early 2021, preserved in artificial permanence with aluminium and fibreglass. Everything about this piece - its hard gel coating, its slight tilt after being uprooted and its faded dark colour - all explore themes of deforestation, destruction, climate change and not just nature’s fragility but our reliance and inextricable ties to the natural world. The tree stands almost haunting in this space, as though it were forced to confine itself to the room's boundaries, held and watched, when it is meant to grow. It is a sharp reminder that its survival and humanity’s survival are entangled.
Mercedes Workman’s 2025 sculpture, Golden Hands, explores a similar theme of interconnectedness, focusing on the joy and strength that community and belonging bring. Cleverly crafted as both an artwork and an earthenware ceramic pot with a lid, the golden work shines under the bright, white lights. The piece presents many hands intertwined, clasping onto each other, creating a strong and hardy sculpture that looks like it can survive the test of time. The sculpture is detailed, curving along the shape of each finger and bending in each finger, looking different from each angle.
The artwork on the wall includes Anna Blom’s Fasciae (2024), a canvas painting made from acrylics, raw pigments and situational debris - an element the Swedish, interdisciplinary artist is known to add to her work. Blom has a Master's in Painting from the Royal College of Art, where she studied the “nuances of isolated mundane moments, discovering the overlooked emotions and unseen objects that occupy our meticulously assembled environment”. Blom’s work is focused on our connection with our surroundings and how we inhabit different spaces and environments, changing physically and emotionally. With deep pinks, reds and browns, fading into one another on the canvas, there is something captivating about Blom’s work. The colours all appear to be in a state of flux, almost ready to swirl around the canvas at any moment. They connect, separate, and blend into each other, commenting again on the thread that ties humanity and nature together.
Along with Entangled, Saatchi Gallery is also hosting two other, free exhibitions - The Thread of Colour, celebrating the life and works of Armenian-American artist Maro Gorky and BLAST, an exhibition that showcases new works by artist, Dominic Beattie. Beattie's work is inspired by 20th-century geometric abstraction and uses a myriad of colours, all clashing with each other at different angles. While appearing like a painting from afar, each work is made from many wooden panels fixed haphazardly onto each other and spray painted in vivacious shades of colours, focusing on reds, yellows and blues. Gorky’s work in the adjacent room similarly uses vibrant colours, but each painting moves between abstraction and realism - brought with her focus on portraiture.
An oil painting on canvas titled Beirut is Burning (1982) focuses on a woman staring directly at the audience as she sits on a sofa in a white dress embellished with flowers and ruffles. Her right arm is on her knee while her left arm rests on the long sofa cushion, almost like she is sitting on a throne. The image is confrontational, her body language is relaxed but distressed, and the background landscape is of burning fields and rising smoke. The sense of calm in the painting creates an uneasy tension, with the audience being conceived as the perpetrator.
While the three exhibitions do not overlap in the themes they explore, they all use bright and vivacious colours, celebrating the arrival of spring at the Saatchi Gallery, alongside their main exhibition with ticketed entrance, Flowers - Flora in contemporary art and culture, on view till 5 May.
Entangled (29 March – 11 May 2025) at Saatchi Gallery is a multidisciplinary exhibition with nine of Liminal Gallery’s contemporary artists, showcasing paintings, drawings, ceramics, and sculpture. The artists are brought together under the themes of interconnectedness, vulnerability, spirituality, and coexistence, as they explore lived experiences shaped by culture, history, and emotion. Naturally, the questions this leads them to are those of responsibility, belonging, and time. The exhibition attempts to understand what connects us to each other and the ecosystems we inhabit.
The theme of this exhibition is well-articulated in Henrietta Armstrong’s Fossil Tree (2023). The fallen tree trunk lies in the centre of the large, white room, a sharp contrast that highlights nature’s ephemerality. The trunk is cast from an oak uprooted by the violent storms of early 2021, preserved in artificial permanence with aluminium and fibreglass. Everything about this piece - its hard gel coating, its slight tilt after being uprooted and its faded dark colour - all explore themes of deforestation, destruction, climate change and not just nature’s fragility but our reliance and inextricable ties to the natural world. The tree stands almost haunting in this space, as though it were forced to confine itself to the room's boundaries, held and watched, when it is meant to grow. It is a sharp reminder that its survival and humanity’s survival are entangled.
Mercedes Workman’s 2025 sculpture, Golden Hands, explores a similar theme of interconnectedness, focusing on the joy and strength that community and belonging bring. Cleverly crafted as both an artwork and an earthenware ceramic pot with a lid, the golden work shines under the bright, white lights. The piece presents many hands intertwined, clasping onto each other, creating a strong and hardy sculpture that looks like it can survive the test of time. The sculpture is detailed, curving along the shape of each finger and bending in each finger, looking different from each angle.
The artwork on the wall includes Anna Blom’s Fasciae (2024), a canvas painting made from acrylics, raw pigments and situational debris - an element the Swedish, interdisciplinary artist is known to add to her work. Blom has a Master's in Painting from the Royal College of Art, where she studied the “nuances of isolated mundane moments, discovering the overlooked emotions and unseen objects that occupy our meticulously assembled environment”. Blom’s work is focused on our connection with our surroundings and how we inhabit different spaces and environments, changing physically and emotionally. With deep pinks, reds and browns, fading into one another on the canvas, there is something captivating about Blom’s work. The colours all appear to be in a state of flux, almost ready to swirl around the canvas at any moment. They connect, separate, and blend into each other, commenting again on the thread that ties humanity and nature together.
Along with Entangled, Saatchi Gallery is also hosting two other, free exhibitions - The Thread of Colour, celebrating the life and works of Armenian-American artist Maro Gorky and BLAST, an exhibition that showcases new works by artist, Dominic Beattie. Beattie's work is inspired by 20th-century geometric abstraction and uses a myriad of colours, all clashing with each other at different angles. While appearing like a painting from afar, each work is made from many wooden panels fixed haphazardly onto each other and spray painted in vivacious shades of colours, focusing on reds, yellows and blues. Gorky’s work in the adjacent room similarly uses vibrant colours, but each painting moves between abstraction and realism - brought with her focus on portraiture.
An oil painting on canvas titled Beirut is Burning (1982) focuses on a woman staring directly at the audience as she sits on a sofa in a white dress embellished with flowers and ruffles. Her right arm is on her knee while her left arm rests on the long sofa cushion, almost like she is sitting on a throne. The image is confrontational, her body language is relaxed but distressed, and the background landscape is of burning fields and rising smoke. The sense of calm in the painting creates an uneasy tension, with the audience being conceived as the perpetrator.
While the three exhibitions do not overlap in the themes they explore, they all use bright and vivacious colours, celebrating the arrival of spring at the Saatchi Gallery, alongside their main exhibition with ticketed entrance, Flowers - Flora in contemporary art and culture, on view till 5 May.
Entangled (29 March – 11 May 2025) at Saatchi Gallery is a multidisciplinary exhibition with nine of Liminal Gallery’s contemporary artists, showcasing paintings, drawings, ceramics, and sculpture. The artists are brought together under the themes of interconnectedness, vulnerability, spirituality, and coexistence, as they explore lived experiences shaped by culture, history, and emotion. Naturally, the questions this leads them to are those of responsibility, belonging, and time. The exhibition attempts to understand what connects us to each other and the ecosystems we inhabit.
The theme of this exhibition is well-articulated in Henrietta Armstrong’s Fossil Tree (2023). The fallen tree trunk lies in the centre of the large, white room, a sharp contrast that highlights nature’s ephemerality. The trunk is cast from an oak uprooted by the violent storms of early 2021, preserved in artificial permanence with aluminium and fibreglass. Everything about this piece - its hard gel coating, its slight tilt after being uprooted and its faded dark colour - all explore themes of deforestation, destruction, climate change and not just nature’s fragility but our reliance and inextricable ties to the natural world. The tree stands almost haunting in this space, as though it were forced to confine itself to the room's boundaries, held and watched, when it is meant to grow. It is a sharp reminder that its survival and humanity’s survival are entangled.
Mercedes Workman’s 2025 sculpture, Golden Hands, explores a similar theme of interconnectedness, focusing on the joy and strength that community and belonging bring. Cleverly crafted as both an artwork and an earthenware ceramic pot with a lid, the golden work shines under the bright, white lights. The piece presents many hands intertwined, clasping onto each other, creating a strong and hardy sculpture that looks like it can survive the test of time. The sculpture is detailed, curving along the shape of each finger and bending in each finger, looking different from each angle.
The artwork on the wall includes Anna Blom’s Fasciae (2024), a canvas painting made from acrylics, raw pigments and situational debris - an element the Swedish, interdisciplinary artist is known to add to her work. Blom has a Master's in Painting from the Royal College of Art, where she studied the “nuances of isolated mundane moments, discovering the overlooked emotions and unseen objects that occupy our meticulously assembled environment”. Blom’s work is focused on our connection with our surroundings and how we inhabit different spaces and environments, changing physically and emotionally. With deep pinks, reds and browns, fading into one another on the canvas, there is something captivating about Blom’s work. The colours all appear to be in a state of flux, almost ready to swirl around the canvas at any moment. They connect, separate, and blend into each other, commenting again on the thread that ties humanity and nature together.
Along with Entangled, Saatchi Gallery is also hosting two other, free exhibitions - The Thread of Colour, celebrating the life and works of Armenian-American artist Maro Gorky and BLAST, an exhibition that showcases new works by artist, Dominic Beattie. Beattie's work is inspired by 20th-century geometric abstraction and uses a myriad of colours, all clashing with each other at different angles. While appearing like a painting from afar, each work is made from many wooden panels fixed haphazardly onto each other and spray painted in vivacious shades of colours, focusing on reds, yellows and blues. Gorky’s work in the adjacent room similarly uses vibrant colours, but each painting moves between abstraction and realism - brought with her focus on portraiture.
An oil painting on canvas titled Beirut is Burning (1982) focuses on a woman staring directly at the audience as she sits on a sofa in a white dress embellished with flowers and ruffles. Her right arm is on her knee while her left arm rests on the long sofa cushion, almost like she is sitting on a throne. The image is confrontational, her body language is relaxed but distressed, and the background landscape is of burning fields and rising smoke. The sense of calm in the painting creates an uneasy tension, with the audience being conceived as the perpetrator.
While the three exhibitions do not overlap in the themes they explore, they all use bright and vivacious colours, celebrating the arrival of spring at the Saatchi Gallery, alongside their main exhibition with ticketed entrance, Flowers - Flora in contemporary art and culture, on view till 5 May.
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