The.Dot.Project

22/05/2026

Dominic McHenry’s residency at Eastnor Castle marks the start of our 2026 Artist-in-Residence program across some of the most inspiring heritage homes in the UK. .dot.project

Dominic is developing a new body of work in direct response to Eastnor castle’s historic rooms.

Working between sculpture and painting, McHenry builds a language of geometry, repetition, and structure, where precision is both tested and quietly unsettled.

His sculptural works hold a totemic presence, while his paintings, set within hand-crafted frames, extend these ideas into surface and edge, where order begins to shift under its own weight.

We’re sharing a first look at works in progress, made in situ at Eastnor.

These pieces are still forming , adjusted, reworked, and refined in dialogue with the architecture around them. The process remains visible: moments of construction, pause, and recalibration held within each work.

More to follow as the residency progresses. Works will be exhibited in June across Eastnor Castle - tickets available via

Works available - please contact [email protected] Photography -

01/05/2026

‘Bound to Make Mistakes’ by Jack Penny. A limited series of fifteen sculptures.

Not everything arrives complete.

For more information please contact [email protected]

DoP
16mm Bolex, 250D 7207

04/04/2026

Jack Penny
You can’t hurt a man who’s okay with being alone, not invited, and not being liked, 2026
Acrylic and Oil on Canvas
180 x 125 cm

16/03/2026

ONE ENTERS A ROOM

ELIZABETH DIMITROFF
ISABEL MUÑOZ-NEWSOME
NATALIE CHARLES

Mar 6 – Mar 31, 2026

Presented as part of Women-Led Galleries Now, Women’s History Month initiative, One Enters a Room brings together the work of Elizabeth Dimitroff, Isabel Muñoz-Newsome, and Natalie Charles. The presentation examines intimacy as a material condition - not decorative or confessional, but structural. Across these practices, paint and process become methods of thinking through memory, embodiment, and the instability of lived experience.

ELIZABETH DIMITROFF
Slinging , 2025
Oil on linen
95 x 125 cm
37 3/8 x 49 1/4 in

Dimitroff’s paintings unfold in a state of suspension. Forming surfaces gradually, only to recede or fracture, creating images that feel sensed rather than definitively seen. Her engagement with oil is integral: the medium’s slow transformation parallels the shifting nature of recollection. Time is embedded in the surface. Through repeated revisions, erasures, and adjustments, the work accumulates hesitation and return. What remains is not a clear narrative image, but an atmospheric trace - a painting that holds ambiguity as its resolution.

Across the presentation, surface becomes a site of negotiation. Paint thickens, obscures, reveals. Images do not declare themselves fully but remain contingent, shaped by time and revision. Rather than staging overt narratives, the works propose a slower encounter - one in which presence is built gradually and meaning resists finality.

16/03/2026

14/03/2026

ONE ENTERS A ROOM

ELIZABETH DIMITROFF
ISABEL MUÑOZ-NEWSOME
NATALIE CHARLES

Mar 6 – Mar 31, 2026

Presented as part of Women-Led Galleries Now, Women’s History Month initiative, One Enters a Room brings together the work of Elizabeth Dimitroff, Isabel Muñoz-Newsome, and Natalie Charles. The presentation examines intimacy as a material condition - not decorative or confessional, but structural. Across these practices, paint and process become methods of thinking through memory, embodiment, and the instability of lived experience.

Natalie Charles
One enters a room and history precedes , 2025
Soft pastel on Khadi paper
21 x 15 cm
8 1/4 x 5 7/8 in

Charles works through acts of gathering and reassembling, often beginning with archival fragments - photographs or remembered stories. In the Skifeee fontasy film studies, she turns to images of her grandfather’s hands, reconstructing them from photographs and memory. These gestures become more than likeness; they register adaptation, communication, and vulnerability. A series of smaller works originates from a book of Polaroids he once took - darkened, blurred images that informed her muted palette and layered handling of materials. Recognisable figures emerge imperfectly, prompting reflection on how personal histories blur when they are not actively preserved. Charles does not attempt restoration; instead, she allows gaps and distortions to remain visible, holding memory as something continually in flux.

Across the presentation, surface becomes a site of negotiation. Paint thickens, obscures, reveals. Images do not declare themselves fully but remain contingent, shaped by time and revision. Rather than staging overt narratives, the works propose a slower encounter - one in which presence is built gradually and meaning resists finality.

10/03/2026

ONE ENTERS A ROOM

ELIZABETH DIMITROFF
ISABEL MUÑOZ-NEWSOME
NATALIE CHARLES

Mar 6 – Mar 31, 2026

Presented as part of Women-Led Galleries Now, Women’s History Month initiative, One Enters a Room brings together the work of Elizabeth Dimitroff, Isabel Muñoz-Newsome, and Natalie Charles. The presentation examines intimacy as a material condition - not decorative or confessional, but structural. Across these practices, paint and process become methods of thinking through memory, embodiment, and the instability of lived experience.

Elizabeth Dimitroff
Cairn, 2025
Oil on linen
51 x 61 cm
20 1/8 x 24

Dimitroff’s paintings unfold in a state of suspension. Forming surfaces gradually, only to recede or fracture, creating images that feel sensed rather than definitively seen. Her engagement with oil is integral: the medium’s slow transformation parallels the shifting nature of recollection. Time is embedded in the surface. Through repeated revisions, erasures, and adjustments, the work accumulates hesitation and return. What remains is not a clear narrative image, but an atmospheric trace - a painting that holds ambiguity as its resolution.

Across the presentation, surface becomes a site of negotiation. Paint thickens, obscures, reveals. Images do not declare themselves fully but remain contingent, shaped by time and revision. Rather than staging overt narratives, the works propose a slower encounter - one in which presence is built gradually and meaning resists finality.

08/03/2026

ONE ENTERS A ROOM

ELIZABETH DIMITROFF
ISABEL MUÑOZ-NEWSOME
NATALIE CHARLES

Mar 6 – Mar 31, 2026

Presented as part of Women-Led Galleries Now, Women’s History Month initiative, One Enters a Room brings together the work of Elizabeth Dimitroff, Isabel Muñoz-Newsome, and Natalie Charles. The presentation examines intimacy as a material condition - not decorative or confessional, but structural. Across these practices, paint and process become methods of thinking through memory, embodiment, and the instability of lived experience.

Isabel Munoz-Newsome
The Young Prince, 2026
Oil on Wooden Board
29 x 22 x 1.1 cm
11 3/8 x 8 5/8 x 3/8 in

Muñoz-Newsome approaches the canvas through sensation and physical immediacy. Her paintings carry an underlying charge: colour is not applied to describe but to intensify; gesture operates as both assertion and response. Drawing from imagination, lived experience, and inherited visual languages, she constructs figures that feel psychologically present yet ambiguous. Beneath the surface lies a current of energy something volatile, partially obscured. The upper layers do not conceal this force entirely; instead, they temper it, allowing tension to persist.

Across the presentation, surface becomes a site of negotiation. Paint thickens, obscures, reveals. Images do not declare themselves fully but remain contingent, shaped by time and revision. Rather than staging overt narratives, the works propose a slower encounter - one in which presence is built gradually and meaning resists finality.

07/03/2026

ONE ENTERS A ROOM

ELIZABETH DIMITROFF
ISABEL MUÑOZ-NEWSOME
NATALIE CHARLES

Mar 6 – Mar 31, 2026

Presented as part of Women-Led Galleries Now, Women’s History Month initiative, One Enters a Room brings together the work of Elizabeth Dimitroff, Isabel Muñoz-Newsome, and Natalie Charles. The presentation examines intimacy as a material condition - not decorative or confessional, but structural. Across these practices, paint and process become methods of thinking through memory, embodiment, and the instability of lived experience.

Natalie Charles
What does this have to teach us?, 2025
Soft pastel on Khadi paper
21 x 15 cm
8 1/4 x 5 7/8 in

Charles works through acts of gathering and reassembling, often beginning with archival fragments - photographs or remembered stories. In the Skifeee fontasy film studies, she turns to images of her grandfather’s hands, reconstructing them from photographs and memory. These gestures become more than likeness; they register adaptation, communication, and vulnerability. A series of smaller works originates from a book of Polaroids he once took - darkened, blurred images that informed her muted palette and layered handling of materials. Recognisable figures emerge imperfectly, prompting reflection on how personal histories blur when they are not actively preserved. Charles does not attempt restoration; instead, she allows gaps and distortions to remain visible, holding memory as something continually in flux.

Across the presentation, surface becomes a site of negotiation. Paint thickens, obscures, reveals. Images do not declare themselves fully but remain contingent, shaped by time and revision. Rather than staging overt narratives, the works propose a slower encounter - one in which presence is built gradually and meaning resists finality.