JGM Gallery

JGM Gallery London gallery specialising in Contemporary Art and Indigenous Australian Art. Founded and directed by Jennifer Guerrini-Maraldi.

Based in Battersea, JGM Gallery specialises in contemporary Art and Indigenous Australian art. JGM Gallery aims to establish a greater awareness of Aboriginal art in the UK and internationally. Located in the heart of Battersea, JGM Gallery is one of the cultural markers of the neighbourhood, which is already home to the Royal College of Art, Battersea Arts Centre and Battersea Power Station. Esta

blished as a private dealership (JGM Art) over a decade ago by Jennifer Guerrini-Maraldi, JGM Gallery has established itself as the most distinguished source of contemporary Australian Aboriginal art in the United Kingdom.

'Old Way, New Road' continues until the 19th of June. For all enquiries, please contact info@jgmgallery.com. ——“In 'Pupu...
02/06/2026

'Old Way, New Road' continues until the 19th of June.

For all enquiries, please contact [email protected].

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“In 'Pupuni Jilamara', Cowell segments his composition through a series of intersecting, rounded lines formed of tightly knit “pwonga” (dots) in yellow ochre, cooked to create a bright red colour. In the spaces between these lines, we see Cowell combining white dot work, which covers the entire canvas plane, with more “pwonga” of various colours: yellow, pink, red and brown. The resulting patchwork effect gives a sense of the field of pigments which locally sourced natural ochres can produce. Tiwi artists handmake these pigments for painting and printing, as they do for body painting in ceremony. Integrating land into artistry, as it is for ceremony, Cowell communicates artistic practices as being somewhat synonymous with ritual activity for Tiwi Peoples.”

- Written by Antonia Crichton-Brown.

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Image: Arthur John Cowell, 'Pupuni Jilamara', 2023, ochre on canvas, 120cm x 80cm.

'Old Way, New Road' continues until the 19th of June. For all enquiries, please contact info@jgmgallery.com. ——“In 'Pupu...
02/06/2026

'Old Way, New Road' continues until the 19th of June.

For all enquiries, please contact [email protected].

——

“In 'Pupuni Jilamara', Cowell segments his composition through a series of intersecting, rounded lines formed of tightly knit “pwonga” (dots) in yellow ochre, cooked to create a bright red colour. In the spaces between these lines, we see Cowell combining white dot work, which covers the entire canvas plane, with more “pwonga” of various colours: yellow, pink, red and brown. The resulting patchwork effect gives a sense of the field of pigments which locally sourced natural ochres can produce. Tiwi artists handmade these pigments for painting and printing, as they do for body painting in ceremony. Integrating land into artistry, as it is for ceremony, Cowell communicates artistic practices as being somewhat synonymous with ritual activity for Tiwi Peoples.”

- Written by Antonia Crichton-Brown.

——

Image: Arthur John Cowell, 'Pupuni Jilamara', 2023, ochre on canvas, 120cm x 80cm.

'Old Way, New Road' continues until the 19th of June. For all enquiries, please contact info@jgmgallery.com. ——Image: In...
29/05/2026

'Old Way, New Road' continues until the 19th of June.

For all enquiries, please contact [email protected].

——

Image: Installation of works from ‘Old Way, New Road’, 2026. Image courtesy of

'Mirror City' continues until the 1st of May. For all enquiries, please contact info@jgmgallery.com. ——Image: Jacqueline...
16/04/2026

'Mirror City' continues until the 1st of May.

For all enquiries, please contact [email protected].

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Image: Jacqueline Poncelet, 'Line Up', 1994, oil, fabric and canvas, 184cm x 51cm.

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“Marks repeat, creating pattern and structure. They mirror each other, mirror the total structure of the image they create and exist in, and mirror the world beyond the image’s border. Sometimes the process is less poetic, more matter-of-fact, than this implies. Sometimes rhythms are rough and ready, elsewhere worked out with a miniaturist’s precision. Gesture plays a large, perhaps over-sized role in current abstract painting. The nine artists in 'Mirror City' employ, subvert or deny gesture with control and discipline, searching after meaning and pictorial intensity with definite, if not predictable purpose.”

- Sam Cornish, Curator

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'Mirror City' continues until the 1st of May. For all enquiries, please contact info@jgmgallery.com. ——Gesture plays a l...
14/04/2026

'Mirror City' continues until the 1st of May.

For all enquiries, please contact [email protected].

——

Gesture plays a large part in the success of the exhibiting artists’ work, though it is, as Sam Cornish says, somewhat overemphasised in current abstract art. It is arguably the artists’ honing and synthesis of their gestures, which they use to express aspects of the metaphysical world, that makes their art effective. Cornish writes, “Marks repeat, creating patterns and structure. They mirror each other, mirror the total structure of the image they create and exist in, and mirror the world beyond the image’s border” (Cornish, 2026). Gesture can be a resolution or restless with uncertainty. 'Mirror City' explores the unfolding of gestures in the exhibiting artists’ works, reflections between those gestures within and between the work, and how these gestures touch the world of the viewer.

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Image: (Left to right) (1) John Bunker, 'Vampire Survivor', 2025, cardboard, screws, hook, PVA, acrylic and ink, 82cm x 62cm x 39cm, (2) Alexis Harding, 'Delta', 2007, oil and gloss paint on MDF, 183cm x 152cm, (3) Dominic Beattie, 'Psychic Driving', 2024, ink, spray paint and varnish on birch ply panel, 122cm x 90cm. Image courtesy of

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'Mirror City' continues until the 1st of May. For all enquiries, please contact info@jgmgallery.com. ——“I became interes...
11/04/2026

'Mirror City' continues until the 1st of May.

For all enquiries, please contact [email protected].

——

“I became interested, about thirty or forty years ago, in how touch is different from gesture. It moves the eye around at a different pace, it’s slower, and pictorial space seems to open up. At that time it had fewer historical connotations. It brought me new possibilities for how colour could work – I began to use transparent glazes, with various gels and mediums, colour showing through colour, which gives a different light from an opaque covering or a saturated stain. And I was fascinated by how paint reaches the canvas and begins to make form. When I visited art schools, the palettes of the students were of real interest to me – a sort of unconscious touch there was very expressive, a useful comparison with the more wilful painting. Palettes are not so often used these days, but there is always the transferring of stuff called paint onto the surface that receives it, by some kind of touch. Each artist has a unique touch.”

- Mali Morris in conversation with Sam Cornish.

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Image: Mali Morris, 'Screen (Dark)', 2025, acrylic on canvas, 30cm x 40cm. Image courtesy of the artist’s studio.

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'Mirror City' continues until the 1st of May. For all enquiries, please contact info@jgmgallery.com. ——Images: Preview o...
01/04/2026

'Mirror City' continues until the 1st of May.

For all enquiries, please contact [email protected].

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Images: Preview of the 'Mirror City' catalogue. This publication contains text by Sam Cornish, a foreword by Jennifer Guerrini Maraldi, and an 'In Conversation' between Mali Morris, Katie Pratt and Sam Cornish.

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Please join us tonight between 6:30pm and 8:30pm for the opening of 'Mirror City', an exhibition of works by 9 contempor...
25/03/2026

Please join us tonight between 6:30pm and 8:30pm for the opening of 'Mirror City', an exhibition of works by 9 contemporary artists, curated by Sam Cornish.

For all enquiries, please contact [email protected].

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Image: Dominic Beattie, 'Faro', 2026, ink, spray paint, varnish and found wood on panel, 122cm x 82cm. Image courtesy of the artist’s studio.

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‘Waltja: One Family’ is open to the public until next Friday, the 20th of March. The exhibition showcases significant pa...
14/03/2026

‘Waltja: One Family’ is open to the public until next Friday, the 20th of March.

The exhibition showcases significant paintings by five members of the Yukenbarri-Tjungurrayi family from Wirrimanu (Balgo), Western Australia. Through these works, ‘Waltja: One Family’ traces the transmission of style between different generations of the Yukenbarri-Tjungurrayi family.

To book an appointment, or for any enquiries, please contact [email protected].

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“While Indigenous people in Balgo generally consider themselves to be part of a common cultural and social group, there is a tendency to distinguish between family and kinship groups, which is often expressed through a family’s artistic ‘style’. Like Country and its ancestral stories, ‘style’ is shared, learned and reproduced through many generations of artists. Because the Kutjungka people now have few opportunities to manage their land, painting is a way of maintaining this proprietorial relationship. ‘Style’ is the embodiment of Country, the artist’s identity and their rights, both to land and sustenance (Carty, 2021). It is malleable and evolves through adaptations made by those with whom it is shared, like stories are adjusted to include features with more contemporary relevance. The meaning is the same, but the manner has transformed.”

- Antonia Crichton-Brown (excerpt from ‘The Yukenbarri Effect’).

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Image: ‘Waltja: One Family’ installation view, 2026. Image courtesy of Benjamin Deakin.

‘Waltja: One Family’ is open to the public until the 20th of March. Featured are paintings by five Kutjungka artists wor...
14/02/2026

‘Waltja: One Family’ is open to the public until the 20th of March.

Featured are paintings by five Kutjungka artists working from Wirrimanu (Balgo), in the north-east of Western Australia.

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“A decade ago, I embarked on a remarkable journey with my dearest friend, the late Georgina Weir. We travelled in a sturdy Toyota Landcruiser, beginning our adventure in Kununurra and heading south on Highway 1 towards Halls Creek. Our final destination was Balgo (Wirrimanu), where we planned to visit the renowned Warlayirti artists. The route required us to traverse the Tanami Track, a remote and iconic stretch of outback road.

We made sure to come well-prepared for the challenges of remote travel. Our vehicle was loaded with spare tyres and a substantial supply of fresh water, essential for such an isolated route. We also packed a wooden ice box filled with basic food staples. Halls Creek served as our last opportunity to restock on vital supplies – fuel, food and water – before we tackled the red dirt track. The local butcher’s steak and sausages proved to be a highlight, providing us with delicious fare for the road ahead.

Much of the 1,000 kilometre Tanami Track stretches across land belonging to the Warlpiri people. The track itself is unsealed, winding its way through the breath-taking scenery of the Western Desert. The journey was a testament to the raw beauty and remoteness of this part of Australia.”

- Jennifer Guerrini Maraldi (excerpt from foreword to the ‘Waltja: One Family’ catalogue).

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Image: Balgo Hills. Image courtesy of Warlayirti Artists.

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24 Howie Street
London
SW114AY

Telephone

+442072286027

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