Exhibitions / Exhibition 01
Something You Love
Love, in its most unguarded form, resists the conditions of public display. Artists working under this prompt were asked to make that contradiction visible - to render affection in a medium and a moment that allowed no time for sentiment.
Crossed Forms, Open Centre
Mary Higgins
A looping, interlocked structure built from overlapping ellipses and hard verticals dominates the composition, drawn throughout in a single deep green. The line itself is confident and continuous, thickening and thinning as it turns back on itself, creating a dense interior lattice that simultaneously reads as botanical and architectural. Mary Higgins sustains a quiet pressure across the whole surface - nothing here is incidental.
- Curatorial note, wifärt gallery
Six Circling Inward
Emma Hunter
A tight spiral of violet line doubles back on itself, nesting a compressed figure-three at its centre like a coiled thought. Emma Hunter works with deliberate pressure here - the outer arc broad and angular where it flattens at the base, the inner strokes fine and almost tentative. The single purple hue holds the composition together, letting structural repetition do the work that colour contrast might otherwise perform.
- Curatorial note, wifärt gallery
Rabbit With Long Ears
Robin Dean
A single looping line in flat violet constructs this rabbit face with surprising completeness - two dot eyes, a bristling whisker arrangement, and ears that splay upward with an almost celebratory energy. Dean works at the edge of control, letting the drawing breathe through its own inconsistencies. The colour holds everything together, giving even the loosest passages a quiet confidence.
- Curatorial note, wifärt gallery
Violet Tangle, Open Ground
Basima
A single sustained motion accumulates into something denser than its parts - Basima's purple strokes loop, cross, and press against each other without collapsing into chaos. The colour holds steady throughout, a mid-violet that neither shouts nor recedes, while the white ground breathes through gaps the line carves open. What reads at first as script or signature gradually reveals itself as its own subject: energy made legible through repetition and pressure.
- Curatorial note, wifärt gallery
Two Leaves Cross the Stem
The darkness
A single continuous orange line traces two leaf-like ellipses that intersect at a shared axis, the lower arc sweeping down and off the picture plane. The colour - a warm, insistent amber - carries the eye through each crossing without hierarchy. What reads first as botanical diagram opens into something more ambiguous: the forms lean against each other with a quiet structural pressure that keeps the composition alive.
- Curatorial note, wifärt gallery
Crown With Jagged Points
Queen
A single continuous blue line traces the silhouette of a crown across the picture plane, its irregular peaks rising and dipping with an uneven, handmade confidence. The colour - a clean, mid-register blue on white - gives the work a directness that reads less as decoration than as declaration. The curved base anchors the form, while the right edge opens outward, leaving the composition deliberately incomplete.
- Curatorial note, wifärt gallery
Cross Current, Green Line
Helen Walsh
A single looping stroke doubles back through itself, forming an X at the composition's centre before trailing off into a long rightward sweep. The deep forest green holds a quiet authority across the white ground, and the isolated vertical fragment in the upper corner reads as both punctuation and counterweight. Walsh's line accumulates momentum, then releases it - arriving somewhere between signature and diagram.
- Curatorial note, wifärt gallery
Love Song with Green Lines
Eddycoolshoes
A figure caught mid-trajectory - body angled forward, weight distributed over the deck with the ease of someone for whom movement is a first language. The black diagonal cuts across the picture plane with real physical conviction, the blue passages building board and rider in loose, committed strokes. Four green lines cascade from the upper edge, marking speed or ramp or simply the rush of downward motion. A hot pink heart anchors the lower right, lending the whole composition a warmth that sits naturally alongside the kinetic energy above.
- Curatorial note, wifärt gallery
Green Stroke Falling
Jim Barnes
A single curved stroke in deep forest green descends from the upper edge of the canvas, narrowing as it bends - its weight concentrated at the top before tapering to a blunt, rounded terminus. Barnes allows the line to carry everything: no supporting field, no counterpoint, just the raw confidence of one uninterrupted pass. The colour holds a quiet authority, botanical without sentimentality.
- Curatorial note, wifärt gallery
Elephant from Behind
Happylife
A single continuous line describes an elephant from the rear, the animal's broad body and wide, outswept ears rendered with more confidence than the draughtsman perhaps intended. The tail, resolved in a small knot of overlapping strokes at the lower right, is the work's most candid moment - an admission that endings are harder than beginnings. Happylife's commitment to the unbroken line gives the piece an unexpected authority.
- Curatorial note, wifärt gallery
Pink Cursive on White
Hackney Hacked WiFi
A looping hot-pink scrawl fills the left field of an otherwise bare white surface, the ink thick and confident in its turns before trailing into a single vertical stroke at the upper right - a pause, or an afterthought. The colour sits at the aggressive edge of magenta, pressing against the blankness around it. Hackney Hacked WiFi offers something between handwriting and pure form, legibility dissolving just as the eye tries to settle.
- Curatorial note, wifärt gallery
Orange Forms in Two Parts
Ht
Two orange strokes occupy the field at a distance from one another, neither completing the other. The left form describes a compressed, looping enclosure that drops into a descending stem - a shape hovering between script and architectural plan. To the right, a single curved vertical pulls away from the top edge and stops short. The colour is flat, warm, insistent, and the line weight throughout is generous and unhurried.
- Curatorial note, wifärt gallery
Heart With Open Wing
Ali
Two lines meet at a central dip before sweeping outward - one thin and knife-straight, the other a looping rightward curve that closes into a rough cardiac form. A loose horizontal stroke anchors the base, suggesting ground or a crossed tail. The drawing is quick and unguarded, its varying line weight evidence of a hand working faster than intention, arriving somewhere between a heart and a bird mid-flight.
- Curatorial note, wifärt gallery
Heart With Crossed Lines
Sarah Hammond
A single looping stroke traces the left lobe of a heart before crossing inward, meeting a second, straighter line that descends from the upper right. Hammond allows the two paths to intersect rather than close, leaving the bottom open and overlapping. The raw black line on white carries a deliberate roughness - intimate rather than decorative, closer to a note written in haste than a finished symbol.
- Curatorial note, wifärt gallery
Two Lines, Uneven
Claire Foster
A pair of vertical strokes in vivid cobalt interrupt an otherwise empty field, one reaching from the top edge and cut short, the other beginning mid-canvas and stopping just as abruptly. Foster lets the disparity in length carry the weight here - the shorter form floats, almost parenthetical, beside its taller companion. The rounded terminals soften what might otherwise read as stark division, introducing something closer to breath than severance.
- Curatorial note, wifärt gallery
Sunny Day, Wheels Up
Dave Langley
A cobalt field holds the whole composition at fever pitch, with Langley's loose white arc - equal parts aircraft, skateboard, and grinning mouth - sitting at the centre as a kind of accidental mascot. Hot pink scatter dots and dashes orbit the form like confetti caught mid-throw, while a yellow sun bristles from the top left with the confidence of a child's first diagram. The work carries genuine lightness without becoming slight.
- Curatorial note, wifärt gallery
Red Animal, Four Legs
The Boss
A looping scarlet outline traces the compact body of a four-legged creature, its head tilted upward with what reads as a horn or snout breaking leftward from the form. The Boss works with a single uninterrupted colour at full intensity, letting the thick red line do all structural and expressive work simultaneously. Weight pools at the stubby legs, grounding an otherwise buoyant silhouette in something almost heraldic.
- Curatorial note, wifärt gallery
Resting Cow in Yellow
Loopy lesley
A single looping yellow line constructs the reclining body of a cow with disarming directness, the same uninterrupted stroke describing haunches, snout, and a tangle of horns at the crown. Loopy Lesley's colour choice - pure cadmium yellow against white - lends the drawing an almost heraldic flatness, while scattered interior dots and a small nose-mark introduce a gentle intimacy that keeps the work warm rather than diagrammatic.
- Curatorial note, wifärt gallery
Mangrove with Black Shore
Pete Harrison
A layered tangle of forest green loops builds the canopy here, pressed against dark crimson trunks that fork and trail downward with deliberate weight. Pete Harrison positions a dense black mass low and left, grounding the composition in something between root system and shadow. The colour contrast - botanical green against near-black - gives the work an ecological urgency that reads as both observation and elegy.
- Curatorial note, wifärt gallery
Heart Crossed With Arrow
Shona marie
A single continuous yellow line traces a heart before cutting across itself in a loose, confident arc - the stroke neither hesitating nor correcting, just pressing forward. Shona Marie works in a colour that reads almost as signal rather than pigment, the chrome yellow pulling the eye along each turn and crossing. Where lines collide, small knots of pigment accumulate, giving the work an unexpected physical weight against the open white field.
- Curatorial note, wifärt gallery