Exhibitions / Exhibition 03
Joyful Things
Joy asks for very little - a quick mark, a bright colour, a form made for the pleasure of making it. This month sets seriousness aside and gathers the small, glad things.
Small Dark Horizontal Form
Cassius Webb
A single pill-shaped smear sits adrift in an otherwise unbroken white field, its isolation operating precisely as John Cage understood silence to operate - not as absence but as charged condition. Webb's compression of the entire pictorial event into one modest, slightly tilted stroke asks what minimum of incident is required before a surface becomes a composition.
- Curatorial note, wifärt gallery
Four Points Refusing Each Other
Obi Saunders
The four-pointed star form collapses into itself before it can fully emerge, each spike competing with the horizontal band that bisects the composition like a horizon insisting on its own authority. Saunders lets the crossing lines accumulate not as error but as structural argument, the yellow asserting warmth against its own dissolution into tangle.
- Curatorial note, wifärt gallery
Daffodil Against Absent Sky
Lizzy
A single flowering stem ascends from the lower field in yellow and vivid green, its twin lobes pressing outward like a trumpet corona arrested mid-bloom. The line carries the spirit of Paul Klee's botanical diagrams - not as homage but as instinct, the drawn plant becoming a sign that outpaces its referent. Lizzy's colour choices hold the work in a zone between botanical notation and pure chromatic proposition.
- Curatorial note, wifärt gallery
Green Heart With Yellow Punctuation
sh
Two gold dots flank the base of a boldly outlined heart, functioning less as ornament than as structural anchors, pricking the composition into life. The dark green contour, thick and uneven, owes something to the raw outline work of early Keith Haring, where the boundary of a form carries the full weight of feeling. Nothing is filled in, and that vacancy is the work.
- Curatorial note, wifärt gallery
Two Fingers, One Crossing
Ali
The overlapping forms here channel the central preoccupation of Merleau-Ponty's phenomenology of the body: the hand that touches is simultaneously the hand that is touched. Two simplified limbs intersect at a single translucent node, the darker tonality at their junction functioning less as shadow than as philosophical proof - the body caught in the act of knowing itself through contact.
- Curatorial note, wifärt gallery
Crown Unravelling Into Coils
Nneka Osei
What begins as a jagged coronet at the upper register dissolves, across the picture plane, into loosening spirals that seem to eat themselves alive. Wols pursued exactly this kind of controlled disintegration, the line unravelling as its own subject. Nneka Osei offers lime-washed stroke as pure duration: the looping lower mass accumulates as existential residue, the crown's authority spent and scattered.
- Curatorial note, wifärt gallery
Orange Heart With Crossings
Priya Sandhu
The looping orange outline traces a heart form whose two descending arcs fail to meet cleanly, producing instead a crossed tangle at the base. Sandhu's accompanying scrawl of angular strokes in the upper register functions as an energetic prologue, charging the composition with a restlessness that refuses the sentimentality the heart symbol elsewhere demands.
- Curatorial note, wifärt gallery
Looped Figure Unravelling Itself
Dele Ashworth
What initially reads as pure automatism reveals, under attention, a knotted architecture of overlapping cursive arcs, the pale teal lines doubling back through themselves. Mira Schendel pursued the same collapse of writing into drawing, treating the illegible line as thought rather than failed language. Ashworth stages the unreadable signature as subject rather than authentication.
- Curatorial note, wifärt gallery
Vessel With Two Crossings
Nkechi Adler
The bowl form here, bounded by a sweeping arc and bisected twice by diagonal strokes, holds an everyday container in perpetual suspension. Adler's rapid inscription settles into neither diagram nor abstraction, the two crossings refusing to explain whether they describe contents, damage, or simple haste.
- Curatorial note, wifärt gallery
Crown of Crossed Lines
Patience Obi
The jagged upward thrusts and looping crests treat the page as a site of accumulated incident rather than resolved composition. Patience Obi's overlapping diagonals and restless peaks perform what Derrida might call a trace structure, where each line both inaugurates and undermines its predecessor, leaving the viewer suspended between order and disintegration.
- Curatorial note, wifärt gallery
Heart Held in Blue
Veronica
A looping, overlaid heart form dominates the field, its repeated blue contours accumulating into something closer to Josef Albers than innocence - the shape is not drawn once but worried into existence through layering, the way colour and edge interact to produce optical depth from flatness. Against the hot magenta ground, the cyan lines bleed and stack, making the heart simultaneously object and atmosphere. The lower letterforms anchor the composition with a blunt, almost graffiti-adjacent confidence.
- Curatorial note, wifärt gallery
Cursive Anatomy of A
Abena Voss
The looping, recursive architecture of this piece returns the letter to pure graphic desire, unmoored from semantic duty. Voss works the ground the Lettrists staked out, where the alphabet was seized as raw material rather than carrier of sense. The capital form is traced through overlapping arcs and angular descenders until legibility buckles into something closer to a body than an alphabet.
- Curatorial note, wifärt gallery
Violet Body Seeking Light
Sun
A single looping oval anchors the composition, its perimeter interrupted by radiating strokes that borrow the visual grammar of outsider cosmological diagrams. The lines extend outward with unresolved urgency, articulating what Deleuze might recognise as pure force prior to form: not a sun depicted, but sun-ness in the process of becoming itself.
- Curatorial note, wifärt gallery
Verdant Forms in Collision
Nicole Mendonca
The looping, overlapping circuits of green line here echo the biomorphic language of Jean Arp, yet Mendonca's work refuses that tradition's smoothness entirely - instead the strokes pile into one another with a raw, almost cartographic urgency. Where Arp sought resolution in organic wholeness, these tangled passages accumulate contradiction as structural principle, the closed oval at lower centre anchoring an otherwise centrifugal field of incident.
- Curatorial note, wifärt gallery
Pink Shore, Burning Noon
SILA
The monochromatic field here operates less as background than as ontological condition - every white line pulled from the magenta void channels Yves Klein's position that colour itself is the subject. SILA's looping sun, striated lounger, and arching palm refuse hierarchy; each element claims equal weight, collapsing depth into pure surface desire. The waves below hum with a deliberately unresolved rhythm.
- Curatorial note, wifärt gallery
Soft Aperture, Warm Cavity
Gemma Osei
A luminous void opens at the centre of this composition, ringed by overlapping translucent lobes of crimson, olive, and ochre that press inward like tectonic memory. The work sits squarely within the tradition of Colour Field painting - yet where Frankenthaler sought release, Osei's pooling forms suggest containment, a held breath. Biological intimacy and pure chromatic sensation collapse into one another without apology.
- Curatorial note, wifärt gallery
Diagonal Across White
Damaris Osei
A single drawn line traverses the pictorial field at a shallow incline, its teal pigment darkening toward each terminus as though the act of beginning and ending carries more weight than passage itself. The work invites comparison to Barnett Newman not through scale but through insistence: this is a line that divides rather than decorates, asserting a horizon of intention within absolute void. Damaris Osei offers nothing extraneous.
- Curatorial note, wifärt gallery
Heart Drawn in Pink
Blessing Okafor
The looping pink outline proves that a line need not close to mean something. Okafor's heart refuses perfect symmetry, the left lobe built from angular, almost polygonal segments while the right swells in one long confident arc. The doubled crossing at the cleft reads less as error than as trace of lived process, the hand doubling back on itself.
- Curatorial note, wifärt gallery
Little Green Man Waves
Nadia Forsythe
The cartoon figure here operates as pure sign in the Saussurean sense - a closed loop of readability that somehow short-circuits its own legibility. Forsythe's looping green contour calls to mind Keith Haring's subway chalk figures, though where Haring insisted on the crowd, this solitary waving form insists on isolation, its grinning face and splayed limbs suspended mid-stride in a white void that functions as both absence and invitation.
- Curatorial note, wifärt gallery
Red Lines Reaching Upward
Melissa
Three vertical striations surge from the upper register, their crimson arcs picking up the charged spatial interventions of Lucio Fontana - not through rupture of a physical surface, but through the assertion of line as pure event against the white void. The stuttering, angular interruption at centre right compounds the rhythm, introducing a syncopation that prevents any easy reading of ascent. A quietly insistent work.
- Curatorial note, wifärt gallery