Exhibitions / Exhibition 02
The Threshold Between Presence and Absence
The threshold is not a place but a condition - the moment before a mark resolves into meaning, or retreats back into the white of the page.
Elsewhere, The Crowd Gathers
Theo Adeyemi
A procession of stick figures advances across the picture plane in raw umber strokes, their uneven limbs suggesting both awkwardness and collective momentum. Above the leftmost figure, bubble forms drift upward toward a jagged speech cloud bearing the word 'Elsewhere' - a destination named but unreachable. Adeyemi's single-colour line work, applied with varying pressure, gives the figures a cave-painting directness that sits somewhere between protest march and migration.
- Curatorial note, wifärt gallery
After the Turn
Ravi Okonkwo
A single sweeping stroke doubles back on itself in teal, the line thickening and thinning as it arcs across white ground - Okonkwo's hand apparent in every shift of pressure. The colour sits between sea-glass and deep forest, cool without coldness. What reads initially as a casual flourish rewards closer attention: the path is deliberate, the two endpoints rhyming with one another in a quiet, considered symmetry.
- Curatorial note, wifärt gallery
Grey Bird With Bright Eggs
Precious Okafor
Pooled in dense, rounded strokes, this plump grey form sits with a quiet, almost comic solemnity. Precious Okafor clusters teal, violet and forest green ovoid shapes against the bird's flank - jewel-bright against the flat pewter body - suggesting a clutch of eggs or perhaps something more interior, an abundance carried close. The yellow beak, lightly smiling, gives the whole composition an unexpectedly tender warmth.
- Curatorial note, wifärt gallery
Two Lines, One Crossing
Dmitri Osei
A pair of crimson strokes intersect near their midpoints, each drawn with a slight tremor that keeps the crossing alive rather than fixed. Osei works in a deep, dried-blood red - a colour closer to archive than alarm - and the asymmetry of the two arms gives the X an off-balance quality, as though the form is mid-decision. Sparse and deliberate, the work asks how much weight a single intersection can hold.
- Curatorial note, wifärt gallery
Two Fingers Reaching Down
Blessing Okafor
A hand caught mid-motion, fingers curling downward through layered peach and amber washes, gives Okafor's composition its restless quality. The overlapping translucencies record the same movement twice, or perhaps three times, so that the drawing becomes less a portrait of a hand than a notation of its passing through space. Warm skin tones pool at the palm's base, grounding what might otherwise dissolve entirely into soft repetition.
- Curatorial note, wifärt gallery
Ladder Into Blue Static
Ade Ogunleye
Cyan brushwork dominates this cropped composition, where parallel strokes cross a diagonal spine to suggest scaffolding, ribs, or the side of a vessel seen at close range. The lines thicken and loosen as they descend, losing their discipline in a tangle of split ends and pooled colour. Ade Ogunleye uses that dissolution deliberately, letting structural logic fray at the edges while the cool, electric blue holds the whole thing together.
- Curatorial note, wifärt gallery
Figures at the Turning
Naomi Fischer
Overlapping arcs of warm sandstone and pale ochre accumulate across the upper right of the picture plane, resolving into half-legible human forms that press against one another without quite separating. Fischer works at a scale that rewards patience - the layers of translucent line reveal themselves gradually, each passage describing a shoulder, a curved back, a reaching arm. The restrained tonal range holds everything in a kind of suspended closeness.
- Curatorial note, wifärt gallery
Structure Folding Into Itself
Vincent Lau
Hot pink lines crowd and collapse across the picture plane here, tracing what reads as architectural form - uprights, crossbars, a kind of compressed doorway or gate - before doubling back and undercutting their own logic. Lau's line is thick, blunt, and unsparing, the colour chosen not for beauty but for insistence. The lower section splays open whilst the upper holds its grid, generating a conversation between containment and give.
- Curatorial note, wifärt gallery
Pale Fork Descending
Amara Okeke
Two strokes of powder blue converge at a point before one breaks away at a slight angle, the whole thing cropped by the frame as though caught mid-arrival. The line weight is consistent and unhurried, carrying a quiet confidence that keeps the eye returning to the junction. Okeke leaves the surrounding white entirely alone, letting that stillness do considerable work.
- Curatorial note, wifärt gallery
Study with Open Mouth
Joseph Mbeki
Soft blue-grey washes accumulate into a form that hovers between glyph and vessel - the white void at its centre reads as both aperture and absence. Mbeki's looping silhouette, painted with blunt, unhurried strokes, suggests a creature mid-breath or mid-speech. The muted palette holds everything in suspension, neither fully figurative nor fully abstract, while the small protrusion at left introduces an off-balance, almost comic tenderness to the whole composition.
- Curatorial note, wifärt gallery
Sun, Water, Winding Path
Dave
A loose peach arc sweeps across the picture plane before curling back on itself, anchoring the composition in continuous, unhurried movement. Against this warm ribbon, a muted teal form pools at the left, carrying a faint white hollow at its centre. Bright blue washes accumulate at the lower edge like shallow standing water, while a layered yellow circle claims the upper corner - together these elements hold the eye in quiet, unhurried circulation.
- Curatorial note, wifärt gallery
Two Lines, One Sweep
Leila Haddad
A spare vocabulary of blue strokes organises itself into something quietly commanding. The leftmost forms a sharp chevron, its two arms meeting at a low point before the eye is carried rightward along a long, unhurried arc that lifts toward its terminus. Leila Haddad works with a thin, confident line whose pressure stays remarkably even, the ink cool and marine against the white ground - a composition that feels less like a sketch than a considered proposition about direction and rest.
- Curatorial note, wifärt gallery
Loop and Descent
Dami Osei
A single continuous stroke in deep chrome yellow traces an open ellipse before crossing itself and falling away into a long, sweeping tail - the line neither completing nor abandoning its circuit. Osei's drawn forms feel caught mid-thought, the crossing point where the loop folds back on itself carrying a quiet structural weight. A secondary vertical stroke stands apart to the right, unhurried, suggesting punctuation rather than ornament.
- Curatorial note, wifärt gallery
Yellow Form Against White
B no
Two overlapping oval contours, drawn in a warm cadmium yellow, describe a compressed, tilted shape that sits somewhere between a seed pod and a shield. The lines are loose and searching rather than decisive, doubling back on themselves to test the boundary of the form. Colour does much of the structural work here - the yellow holds the composition together where the drawing itself remains deliberately open and unresolved.
- Curatorial note, wifärt gallery
Grey Line, Pink Fill
Hassan Ali
A loosely drawn heart in thick grey crayon contains a wash of soft pink that bleeds slightly beyond its own boundary. The outline is confident but uneven, carrying the wobble of a hand that chose feeling over precision. Hassan Ali works the tension between containment and overflow - the pink refusing to sit neatly inside the grey, the whole thing warmer and more alive for it.
- Curatorial note, wifärt gallery
Hand Holding Something Soft
Florence Hart
A single continuous cyan line coils and doubles back on itself to describe two hands cradling an uncertain form - the drawn thread never quite settling into anatomy, never quite dissolving into abstraction. Hart sustains a quality of visible hesitation throughout, the line thickening and thinning as though tracing something felt rather than seen. The white ground absorbs the cool blue quietly, lending the whole image an open, unresolved tenderness.
- Curatorial note, wifärt gallery
Yellow Lines Crossing White
Kevin
Pale lemon strokes drift across an open white field, each curve and intersection carrying a quiet looseness that feels uncontrived. The colour barely asserts itself - soft, almost bleached - yet the crossing arcs hold the eye with a kind of unhurried confidence. Kevin's lines bend and trail without urgency, letting the generous empty space do as much work as the pigment itself.
- Curatorial note, wifärt gallery
Coiled Form With Crossing Lines
Wjwhaysbsh
A single olive-green line traces, doubles back, and accumulates into something between a contained spiral and a loosely described head. The colour holds steady throughout - neither bright nor muted - giving the sheet a quiet consistency. Looping arcs overlap at the right, where several threads converge into a small knot of crossings, pulling the eye toward a centre that is structural rather than symbolic. The surrounding negative space lets the drawing breathe.
- Curatorial note, wifärt gallery
Leaf Crossing Open Form
Grace Owusu
Two lines move through one another here - a loose diagonal scratch and a broad, rounded enclosure drawn in olive-yellow green. Grace Owusu traces the outer shape with quiet confidence, the line thickening and thinning slightly as it rounds the top before flattening toward the base. The crossing of the interior stroke introduces a small zone of ambiguity, as though the work is still deciding what it wants to contain.
- Curatorial note, wifärt gallery
Teal Scrawl Against White
Mo
A dense accumulation of looping, overlapping strokes fills the picture plane in a single deep teal - somewhere between petrol and pine - laid against bare white. The lines curl back on themselves repeatedly, punching small voids through the mass and creating an internal rhythm that reads almost like compressed script or tangled wire. Mo's work here feels physical and urgent, the weight of each stroke visible in its swelling breadth.
- Curatorial note, wifärt gallery