The gallery will be bringing newly published screen prints by Said Adrus, Chila Burman, Helen Beard and Gavin Turk, as well as mono prints by Susie Hamilton from her ‘Unbound’ series. We will also exhibit classic works that the gallery has published including a group of Damien Hirst prints that celebrate the butterfly in silkscreen and foil block. We are also exhibiting two Peter Blake diamond dust prints of the Beatles, ‘Love Me Do’ and ‘PS I Love You’.

Said Adrus’s ‘Zeitgeist’ screen print, originated in 1982 and editioned in 2022 pinpoints a moment in the poverty-fuelled Toxteth riots that destroyed parts of Liverpool. Whilst historically acknowledging Warhol’s seminal ‘Brimingham Race Riot’ print, ‘Zeitgeist’ represents a greater and current zeitgeist that spans the last four decades.

We will show new work by Chila Burman including ‘Let’s Take You Higher’ which draws on fine and pop art imagery in intricate multi-layers, exploring Asian femininity and Chila's personal family history, where Bollywood bling merges with childhood memories.


From Susie Hamilton, we have a series of mono prints, including a group of early works from 1996 of Cowboys, together with works from her latest series of solitary Riders from her ‘Unbound’ body of work. They both share similar traits of the solitary figure immersed and overpowered by nature. ‘Unbound’ refers therefore to the freedom and energy of horses and riders but also to the way in which her work is unshackled from realism in order to transform and make strange a recognisable figure, object or landscape.”

"Literature is a constant influence on my work and the new paintings, drawings and prints all have poems or plays as a source. They are also connected by the image of The Rider. I have painted The Rider as an ecstatic or combative figure or as a solitary wanderer journeying through wilderness. In a second group of works I have fused images of samurai with those of horsemen. The vitality of the horseman is also counteracted by an appearance of erosion, with areas of the prints defaced or wiped away as if mutilated by time. The movement of combat is therefore halted and stilled.”

" These equivocal, abstracted shapes, representing figures or surrounding them as part of a landscape, suggest reality changing and expanding. The familiar is morphing into the mysterious”