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ART ADVISORY / ART STRATEGY / CULTURAL STRATEGY

20/10/2026

On the eve of his move to Milan, Joe Cheetham sat down with curator and art historian Chaz Scott for Glasgow Art Map’s ‘In the Studio’ series.

“I’m trying to make paintings that are portraits, but also, they’re about a moment of pausing. Making a painting, you’re pouring everything into the frame. So in the same way that I’m pouring a lot of features into the face and they need to find their own stillness where they’re balanced, it’s the same when you’re composing a painting. You’re pouring a lot of things in and balancing them. If they were to become too static, the painting is dead. I’m trying to make paintings of people that are almost paused in states. They look not at you, but through you.”

Read the full interview through the link in our bio

Interview - Chaz Scott for Glasgow Art Map
Image credit Chaz Scott

18/10/2026

Last day of Containers Part I and II at 67 Great Titchfield St. A special thanks to everyone who has visited and our incredible artists piers__alsop William Lowry Nika Neelova Heeyoung Noh Salvatore Pione lucas__dupuy

We are open until 4pm - come and say hi!

William Lowry
The Engine, 2026
Oil paint, pen, pencil and acrylic on maple veneered board
36.4 x 30.5 cm
14 3/8 x 12 in

DM us for details and available works

17/10/2026

Last chance to see Piers Alsop’s work Stage Curtain, in Containers Part I, closing tomorrow.

67 Great Titchfield St

Sat 11am - 7pm
Sun 11am - 4pm

(b.1984, London, UK) Piers Alsop’s practice incorporates painting, drawing and collage in which themes of impermanence, ruin, and the artifice of painting exist in an ongoing dialogue with art history. His paintings consider ways in which a two-dimensional surface can be inhabited, employing a pared back aesthetic, a considered ‘slouchiness’ and generous negative space. Drawn to ordinary scenes - roads, gardens, buildings, interiors, piers and landscapes - his stylised compositions oscillate between a gentle humour and the anxiety of decline.

Piers Alsop
Stage Curtain, 2026
Oil on jute mounted on linen
160 x 140 x 3.5 cm
63 x 55 1/8 x 1 3/8 in

DM us for details and available works

16/10/2026

Nika Neelova
Gorgo’s Eye (Blue), 2026
Reclaimed heron glass lampshade, died beech veneer, cast jesmonite with pigments
40 x 35 x 19 cm
15 3/4 x 13 3/4 x 7 1/2 in

This work draws upon the ancient association between the serpent, the gaze and enchantment. The word fascinate ultimately derives from the Latin fascinare, meaning to bewitch or enchant, associated with the serpent’s supposed ability to mesmerise. Ancient writers described serpents as capable of ‘fascination’- paralysing or captivating through their fixed gaze and sinuous movement - while fascinum amulets were worn or displayed as protection against the evil eye and other malevolent forces. Over time, the literal sense of casting a spell evolved into the figurative sense of captivating or holding attention. The sculpture therefore hovers between enchantment and threat. Its iridescent surface draws the viewer inward, while its protective imagery suggests the danger contained within attraction. The concentric structure evokes an eye widening, a body coiling, and a universe expanding around a central point.

Drawing arcs between different time periods and disciplines the sculptures form part of larger cycles, temporarily arrested in their current form. Neelova attributes high importance to material transformations often inspired by the latent potency immanent in the materials.

This work is featured in Containers: Part I, open until this Sunday 18th October.

Come and visit us this weekend.
Sat 11am - 7pm
Sun 11am - 4pm

67 Great Titchfield St, W1W 7PT

DM us for details and available works

15/10/2026

Lucas Dupuy
Focus 1 & 2, 2023
Acrylic and gouache on canvas
30.5 x 168 x 3 cm
12 x 66 1/8 x 1 1/8 in

On view until this Sunday 18th October at 67 Great Titchfield St, London.

Containers Part II - Lucas Dupuy
DM us for details and available works

Installation photography - Thomas Moen

14/10/2026

William Lowry
Knight, 2025
Acrylic paint, chalk, pencil, oil pastel, pen, and aluminium foil on board
20 x 15 cm
7 7/8 x 5 7/8 in

This work is currently featured in Containers Part I.
On view: Thursday 8th October – Sunday 18th October
67 Great Titchfield St, W1W 7PT

PART I - Piers Alsop, William Lowry, Heeyoung Noh, Nika Neelova, Salvatore Pione

PART II - Lucas Dupuy

We hope to see you there.

DM us for details and available works

Installation Photography Thomas Moen

13/10/2026

Containers: Part II, a solo presentation of Lucas Dupuy, on view until this Sunday 18th October.

The often overlooked beauty of architectural interventions into public space, the mathematical concepts that underpin the field of fractal geometry and the unexpected occurrences that arise as one attempts to coexist with nature are all captured within Lucas Dupuy’s solo presentation at THE TAGLI, Containers: Part II. Starting life as a series of airbrushed autonomous drawings - paradoxical pre-planning employed to achieve a fabricated flash of supposed freedom - the artist’s heavy, hessian ground receives layer after layer of pigmented gesso, the primer hardening to form dense patches of colour, the negative space of the remaining raw fabric embraced as a subtle shadow. Sweeping gestural strokes appear to race across the canvas expanse, entering and exiting the picture plane in a heady haze, seemingly in defiance of any gravitational or physical constraints. Evidently abstract, yet rooted in an emotional observation of physical space and an empathetic exploration of our immediate surroundings, these transitory silhouettes are a response to shadows intercepted by nature or architecture and spaces illuminated by a refracted light source. Dappled sunlight dispersed through the gaps of leafy tree canopy. Dust or smoke suspended in the air, illuminated by a stray sunbeam. These ethereal, ephemeral moments manifest on the surface of Dupuy’s paintings, held in suspension through a precise balance of light, shade, hue, tint, tone and texture.

Exhibition text written by Hector Campbell

Containers: Part I and II
08 - 18 October 2026
67 Great Titchfield St, London W1W 7PT

Frieze hours:
Tues - Sat 11am - 7pm
Sun 11am - 4pm

Photography Thomas Moen

12/10/2026

Heeyoung Noh
Bedside table, 2026
Oil on wood panel
65 x 52 cm
25 5/8 x 20 1/2 in

This work by Heeyoung Noh is currently featured in Containers Part I.
On view: Thursday 8th October – Sunday 18th October
67 Great Titchfield St, W1W 7PT

PART I - Piers Alsop, William Lowry, Heeyoung Noh, Nika Neelova, Salvatore Pione

PART II - Lucas Dupuy

We hope to see you there.

DM us for details and available works

08/10/2026

NOW OPEN: Containers: Part I & Part II
Part I - Piers Alsop, William Lowry, Heeyoung Noh, Nika Neelova and Salvatore Pione
Part II - Lucas Dupuy
08 - 18 October

THE TAGLI
67 Great Titchfield St,
London W1W 7PT

Attempts to decode, dispense with or otherwise divest oneself from the prevailing expectations and prior exploits of our predecessors are at the forefront of THE TAGLI’s latest group exhibition Containers: Part I, with five artists examining how artworks can both accommodate for and alter established stereotypes surrounding society, masculinity, archaeology, architecture and anthropology. Employing memory as a primary working methodology, either collective, imagined or artificial, each artist proffers a rewriting or remaking of the past in their own image, presenting vessels that hold and house their own alternative, artistic doctrines.

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The often overlooked beauty of architectural interventions into public space, the mathematical concepts that underpin the field of fractal geometry and the unexpected occurrences that arise as one attempts to coexist with nature are all captured within Lucas Dupuy’s solo presentation at THE TAGLI, Containers: Part II. Starting life as a series of airbrushed autonomous drawings - paradoxical pre-planning employed to achieve a fabricated flash of supposed freedom - the artist’s heavy, hessian ground receives layer after layer of pigmented gesso, the primer hardening to form dense patches of colour, the negative space of the remaining raw fabric embraced as a subtle shadow.

Exhibition text written by Hector Campbell

DM us for a list of works

06/10/2026

Zach Zono
Spill, 2025
Oil on canvas
100 x 150 cm
39 3/8 x 59 in

DM us for details and available works

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