Project Space
Cristea Roberts Gallery is pleased to present Project Space, an ongoing series of displays that showcase recent projects by a selection of gallery artists, many unveiled for the first time.
The gallery and exhibitions are closed over the Easter weekend from Friday 3 April - Monday 6 April 2026. Click here to see our opening hours.
This presentation includes four spray-painted collages by Rhys Coren (b. 1983) that explore rhythm and colour through a process of layering. The artist is particularly inspired by music, marquetry and performance. These works on paper are informed by shape and a fragmentary approach to abstraction.
Ian Davenport’s (b. 1966) approach is informed by experimentation and process. The artist’s new works on paper are made by shooting jets of acrylic paint with a syringe at paper pinned to his studio wall. He uses gravity to explore the complex arrangement of marks and patterns made when colour is free to ricochet and splatter.
“I started making prints about 20 years ago, with Cristea Roberts Gallery, and I’ve always found the way they interact with my paintings really interesting. I started to realise that the two were more intertwined than I ever thought they would be.” Ian Davenport
A new suite of fifteen prints by Hew Locke (b. 1959) depict a bold procession of characters marching forward in vibrant colours. Known for a style that has been described as “postcolonial baroque” Locke’s ensemble evoke the spirit of Carnival, of costume and masquerade, in the wake of colonial legacies, such as migration and the diaspora.
“It is a parade, a procession… you can work on a costume for a whole year and then be King or Queen for a day. It’s about darkness and light – fragments of history, soldiers, sailors, drag queens and kings, carnival kings and queens, gods and goddesses.” Hew Locke
Also on show in Project Space, a new edition by Clare Woods (b. 1972). The Inside Garden, 2025, is a new screenprint in an edition of thirty that continues the artist’s use of flowers as a memento mori, depicting their final moments of beauty before their inevitable demise, contrasting ideas of vitality and decay.
“These objects capture familiar moments, representative of a typically safe place. However, these same moments can be altered by events outside that are unfamiliar and dangerous. The detail in the everyday becomes heightened with discomfort; this allows for new ways of seeing the ordinary.” Clare Woods
