Isabella Jones Bartle The new Quentin Blake Centre for Illustration... Photo: Isabella Jones Bartle On a relaxed Monday evening, I tuned in to the BBC to watch British illustrator Quentin Blake draw whilst talking about his new Centre for Illustration. Sitting in his blanketed wicker armchair in his home studio, his pen glides and excitedly dances across the paper. A constant chatter about characters and stories arises as Blake leans closer to his desk and presenter and fello

Honor Cockroft Blurring boundaries at Saatchi Yates... Photo: Courtesy of Saatchi Yates Make-up artist Isamaya Ffrench blurs the boundaries between art practice and the practical at Studio Iron. There is something deliberately unstable about Studio Iron, the inaugural exhibition of Isamaya Ffrench’s newly launched design company. Installed at Saatchi Yates, the show unfolds across the vast open gallery space in a convergence of art, design and installation. Materials and surf

Eliza Pritchett a serpentine, designed by Isabel Abascal and Alessandro Arienzo, LANZA atelier. Exterior view © LANZA atelier, Photo Iwan Baan, Courtesy Serpentine. Now in its 25th edition, LANZA atelier's Isabel Abascal and Alessandro Arienzo design a humbly impressive pavilion for Hyde Park's Serpentine Gallery. After a quarter-century of increasingly complex temporary structures, the most significant milestone in Serpentine history is also its least flashy. a serpentine, t

Sofia Stefani Jefta van Dinther's REMACHINE at Sadler's Wells East © Jubal Battisti Today, when salient issues of the mechanical in our environment seem most mired in technological developments without an obvious physical presence, Jefta van Dinther’s choreography in REMACHINE seems to evoke a less striking, industrial sense of the mechanical—humans working with big machines, or the human body as machine. A performance at Sadler’s Wells East choreographed by van Dinther, with

Yuval Aluf Amalia Dayan... Photo: Courtesy of Lévy Gorvy Dayan Just off Fifth Avenue, New York City, where midtown traffic folds into the usual afternoon rhythm of horns and hurried appointments, the entrance to Lévy Gorvy Dayan offers an abrupt shift in tempo. Inside the townhouse, the city's noise gives way to something quieter: white panelled walls, a marble staircase curling upward, a checkered floor whose muted reds echo the deep crimson of Domenico Gnoli's paintings han

Sarah Vidalin Space for the next generation... Photo: Courtesy of Morisot On Wednesday evening, tucked into an East London side street off Whitechapel Road, second-year Courtauld BA student Mei Bassett-Chan previewed her first solo-curated exhibition Imaginary Possession. Presented by Morisot, an organisation co-founded by Bassett-Chan and one of the exhibitions featured artists, Sebastian Alabaster. In addition to Alabaster, this five-day event also includes artist Gabriel C

Milla Peerutin Tracey Emin, I Need Tomorrow, 2026... Photo: Counter Editions On Wednesday evening at the London Original Print Fair, Counter Editions unveiled a suite of six new lithographs, entitled I Need Tomorrow, by Tracey Emin. This comes as a complete shock to many, even Emin herself, following her landmark retrospective, A Second Life currently on show at the Tate Modern. By the time most people heard of the series, they had almost entirely already sold out.  I Need To