Blanco Gallery, London (2026)

10/04/2026

This week, we take a closer look at the practice of .

Eleni Maragaki’s practice focuses on bridging the dichotomy between urban construction and the natural environment, understanding architecture as being in constant dialogue with the landscape. In response to densely manufactured urban spaces, she draws inspiration from the delicacy found in natural systems.

In her work, the deconstruction of the landscape through abstract geometric forms reflects the tensions between the city and its surrounding natural world, where human-made and artificial components alter and deform the natural environment.

Compartmentalisation, seriality, close observation, and categorisation are integral to her methodology. The visualisation of theoretical research is considered as important as the practical aspect of her art.

Audience engagement is a key element, explored through interactive artworks that invite a space to examine the dynamics between the human element, geometry, and nature.

emergingartist installationart abstractart urbanlandscape artandarchitecture artpractice londonart independentcurator

27/03/2026

I’m delighted to share that I’ve been awarded a grant from ✨

This support will help me continue developing and contributing to the 2026 exhibitions programme, and to keep building projects through my curatorial platform.

Thank you to The Circles of Art for considering me for this award. It means a lot, and I’m excited for what’s ahead.

I’m truly grateful to everyone who has believed in me and in my work along the way. Your support means so much 💗

📸 Analog photography by for the exhibition Dissonance 2023
📸 Portrait picture by Domenico Selicato

20/03/2026

This week we spotlight the practice of
Irredeemably Foreign

17 × 23 × 4 cm
Used postcards, book cut-outs and translucent polypropylene on artist’s frame
2025

Irredeemably Foreign is a series of old postcards from Venezuela, each carefully intervened with fragments of text from The Disoriented by Amin Maalouf. The works transform landscapes embedded in collective memory into images and text that evoke a sense of displacement and emotional resonance.

The series explores what it means to be foreign and how history, belonging and violence leave their marks not as abstraction but as something felt in the body of a place and in the distance between who we were and where we come from.

Daniel Rey is a Venezuelan artist based in London working across performance, installation and assemblage. His practice interrogates masculinity, ritual and belonging through the lens of q***r migrant experience, constructing immersive and speculative worlds that challenge dominant social structures.
mixedmediaart londonartscene diasporaart identityart artcuration

20/03/2026

This week we spotlight the practice of
Irredeemably Foreign

17 × 23 × 4 cm
Used postcards, book cut-outs and translucent polypropylene on artist’s frame
2025

Irredeemably Foreign is a series of old postcards from Venezuela, each carefully intervened with fragments of text from The Disoriented by Amin Maalouf. The works transform landscapes embedded in collective memory into images and text that evoke a sense of displacement and emotional resonance.

The series explores what it means to be foreign and how history, belonging and violence leave their marks not as abstraction but as something felt in the body of a place and in the distance between who we were and where we come from.

Daniel Rey is a Venezuelan - Spanish artist based in London working across performance, installation and assemblage. His practice interrogates masculinity, ritual and belonging through the lens of q***r migrant experience, constructing immersive and speculative worlds that challenge dominant social structures.
mixedmediaart londonartscene diasporaart identityart artcuration

13/03/2026

This week we’re introducing the work of .

Cleo Stoutzker is a British artist based in London whose work moves between photography and painting. Drawing on personal photographic imagery, she repositions familiar figures within abstracted landscapes, creating spaces that feel both recognisable and slightly displaced.

Her paintings explore ideas of memory, identity and place, reflecting on the shifting boundaries between past and present, here and elsewhere, self and other. Through a careful balance of form and negative space, Stoutzker’s works suggest landscapes shaped as much by perception and experience as by geography.

Process sits at the centre of her practice, with each painting unfolding as a quiet enquiry into how we observe, interpret and construct meaning through images.

06/03/2026

This week we’re introducing the work of

Mark Jeffreys works within conceptual abstraction, exploring ways of describing landscape beyond representation. His practice is shaped by a set of ongoing questions: how might a landscape in flux be visualised? What constitutes an imagined or abstract space? And how might internal landscapes emerge through fields of colour?

Working primarily on paper, Jeffreys builds surfaces using pigment and painting medium, sometimes incorporating oil, wax and drawing materials. Paper’s ability to fold and deform allows the work to move between painting and sculpture, with colour fields treated as a kind of shifting terrain.

Jeffreys grew up on the edge of the Cotswolds and later in Norfolk, now the driest part of the UK. He currently lives in the Netherlands, much of which sits below sea level. Both landscapes face the risk of rising tides and coastal flooding — a sense of environmental uncertainty that sits quietly behind the work.

paperart visualart artcurator artiststudio emergingartist environmentalart

27/02/2026

S e i s m i c G e s t u r e s
The Silence of the Volcano

By

Seismic Gestures is a series by Vicky Polak that understands the body as a living archive, a channel through which ancestral memory continues to move.

Created within the volcanic and colonised landscapes of Lanzarote and Tenerife, the work reflects on territories shaped first by eruption and later by repression. Formed by fire and lava, these islands hold layered histories, including the silencing of spiritual practices deeply rooted in the land.

Printed on flag fabric and activated through gesture, the images evoke a counter-history, one that survives not in monuments but in embodied acts of reactivation. Here, ritual becomes presence, resistance and remembrance.

Rather than observing from a distance, the camera participates. There is an element of chance in this series, as she is working with a medium-format analogue camera using double exposure.

Continuing her research into affective archaeology and ritual topographies, Vicky Polak engages with landscapes marked by rupture and forgetting, asking how we might begin to hear their stories and mythology again.

Based in London, Vicky Polak works at Victoria Miro Gallery as Creative Producer. Her visual practice as an artist is based on photography, film, and anthropology; she has exhibited internationally, including at London Design Week and the Argentinean Ambassador’s Residence (UK).

20/02/2026

Introducing today One Man's Trash series by

In this series, Eloïse Dethier-Eaton works with discarded wooden boards, transforming their surfaces through meticulously painted illusionistic finishes such as marble, stone, and mother-of-pearl. Through this labour-intensive approach, she examines how value is assigned and how it shifts when time, skill, and care are invested in restoring or upcycling materials. The series highlights her ongoing interest in surface, materiality, and perception.

Eloïse Dethier-Eaton is a Belgo-British artist based in London. Her multidisciplinary practice includes painting, paper marbling, printmaking, and photography. Over the past few years, her work has explored the cultural histories embedded in patterns, clothing, and textiles, reflecting on fashion production and consumption—from the negative effects of fast fashion to the restorative potential of slow fashion, care, and attachment.

Across her work, Eloïse blends illusionistic painting with tactile surfaces, creating compositions that emphasise both the visual and material narratives of the objects she portrays.

ContemporaryArt LondonArtist SustainableArt Upcycling IllusionisticPainting Materiality SlowFashion SurfaceAndPerception

13/02/2026

Today, we revisit Sebastián Espejo’s Interval, his exhibition at The Artist Room Gallery & Plaster, curated by Jessica Draper, 2025.

1 - Interval, oil and wax on wood, 20 × 15 cm, 2024–2025

2- Lo insignificante iguala lo extenso, oil and wax on wood, 30 × 25 cm, 2025

"As I walk, I encounter objects—often fragments—that feel destined. I gather them to build my model. I listen to them. I listen to my painting. Often, these are shadow objects, shadow organisms. These small things form an altar—one that denies, affirms, and gives shape to the world’s polarities through painting: a practice intimately bound to attention. A tool for reaching outward with a sense of belonging."

Sebastián Espejo

Installation view: Sebastián Espejo, Interval, The Artist Room Gallery & Plaster, curated by Jessica Draper, 2025.

📸 Photo courtesy of the artist, The Artist Room, Plaster and Jessica Draper. Photos by Peter Otto.

30/01/2026

I am pleased to present a new interview with Argentine artist Majo Caporaletti .caporaletti, now available on our website. The conversation explores painting, memory and perception, offering insight into her practice and process.

👉 Read the full bilingual interview (Spanish / English) via the link in our bio: go to Linktree → Interviews → Majo Caporaletti.

Credits
Interview & text: Adela Blanco
Photos: Courtesy of the artist, Majo Caporaletti

argentineartist artistinterview artconversation paintingpractice visualart artcurator artwriting bilingualcontent latinamericanart

19/12/2025

Exploring practice through The Taste of Heat, her first London solo exhibition, curated by the artist and presented at last November, I had the wonderful experience of visiting the show and seeing how her work weaves together memory, longing, and the presence of heat within the Uyghur diaspora, creating a quiet, contemplative atmosphere.

At the centre of the installation is a handmade tonur, carefully crafted from cracked newspaper pulp. It emits no heat, and rather than the familiar opening to observe bread cooking, it holds a ceramic qapaq with a bronze-cast stick titled Is my memory of home real anymore? Draped fabric carries clay imprints, tracing the shadows of naan and hinting at activity through absence.

Branch-like forms and recurring tongue motifs move subtly through the space, as if sensing and reaching out. Through these elements, Dilshat shows how heat and connection exist in gesture and presence, in memory carried by the body, and in the act of longing itself.

Camilla Dilshat (b.1998) is a London-based sculpture and installation artist of Uyghur ethnicity. She completed her MA Fine Art at City & Guilds of London Art School in 2023, where she received the Tony Carter Award. The Taste of Heat marked her first solo exhibition.

installationart contemporaryart emergingartist artinlondon soloshow artcuration artistpractice artinstallation contemporarysculpture surrealism conceptualart memoryandlonging diasporaart artistsoninstagram artcollective experimentalart

05/12/2025

Thrilled to introduce today the practice of .caporaletti. Majo Caporaletti is an Argentinian artist based in Buenos Aires, whose work turns painting into a space for reflection and a way of exploring the boundaries between matter and spirit. Her latest works transform the impressions of a journey through the Atacama Desert into intimate, internal landscapes.

These paintings transform desert impressions into a space for memory and sensation, encouraging an experience that goes beyond the visual. Animals often appear in her work as symbolic guides, bridging the visible and the invisible, while landscapes carry memory and energy, acting as living entities within the compositions.

The familiar meets the mysterious as opposing forces collide on the canvas, creating eruptions of matter and poetic reconstructions of form. Engaging with the rhythms of nature, her work reflects cycles of dissolution, regeneration, and transformation, capturing light as expansive as water and as intimate as the glimmer behind a gaze. Ritualistic gestures and metaphoric elements quietly infuse the scenes, suggesting processes of spiritual transformation and reconnection.

Echoing her ongoing spiritual and artistic inquiries, these landscapes act as mirrors of transformation, where the Atacama becomes a shifting space onto which new possibilities can be projected.

Majo Caporaletti is currently exhibiting in “Perseguir un rastro” at in Córdoba, Argentina. The exhibition will be on view until 8 March 2026.

Blanco Gallery

10/04/2026

27/03/2026

20/03/2026

20/03/2026

13/03/2026

06/03/2026

27/02/2026

20/02/2026

13/02/2026

30/01/2026

19/12/2025

05/12/2025

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