London Art Fair 2025

Caroline Fisher Projects’ next exhibition will be From here to… at the London Art Fair, 21- 26 January 2025, Business Design Centre, Islington N1 0QH

For tickets please email hello@carolinefisherprojects.org

From here to… is an exhibition of work relating to the idea of ‘place’ in ceramic, textile, neon and digital collage.

Artists: Anna Brass, Connor Coulston, Beatrice Galletley

From here to…

For London Art Fair 2025, Caroline Fisher Projects is presents three artists whose work gives a sense of place: Anna Brass, Connor Coulston and Beatrice Galletley. The places suggested in their work range from Oldham to Venice, from Essex to the artist’s subconscious, and the work shown connects places and objects through narrative. 

Connor Coulston

Connor Coulston’s practice is an ongoing articulation of the relationship between self-deprecating humour as a means of enquiry, the mutability of clay, and the wild imaginary. His work emerges from a fascination with the kitsch ceramic ornaments one might find in thrift stores, museums, or that might adorn a grandparent’s fireplace, connecting these objects to the contemporary struggles that he has personally experienced.

Shit meals mum made II: Beans on toast is part of a series of vessels and bowls that explore the dreadful meals Coulston’s mother made during his childhood. Humorous and evocative of childhood memories, an undeniable sense of frustration is etched onto the surface of the vessels and then partially masked with neon. The majority of these meals were the result of his mother being too exhausted after a 12-hour workday or unable to afford much more. 

Coulston’s sculptures, Deep Rooted Hate are part of a series of vessels that explore the experience of growing up in Oldham while struggling with internalised homophobia. The form resembles a familiar neo- classical shape, but the surface is torn, attacked, and scratched with text, thoughts, and feelings, representing the inner turmoil the artist, Coulston, experienced. Bright, luscious neon blue hearts attempt to conceal the damaged surface but ultimately fail, revealing the complexities of the marks, especially when viewed at night.

Anna Brass

Anna Brass’s process of research is painterly. She continually absorbs and interprets images: illuminated manuscripts, Byzantine mosaics, cartoons, film posters, early playing cards.

As a result, her practice is driven by a desire to generate and analyse visual material. The resulting streams of imagery are bound up with the way she thinks through ideas and closely allied to a strong research-based practice centred around medieval and Renaissance Italy.

Brass makes the costumes for her films using fabric offcuts and charity shop blankets. Hermit is a ‘flat image costume’ made for the film Haukebodde Hacoud Hacwod Aukud, recently acquired by Arts Council Collection.

The image for Hermit comes from a mid 15th century pack of tarot cards known as the Visconti-Sforza Deck. These cards were not originally intended for telling fortunes but were more of a luxury game for the aristocracy and show a range of characters whose costume situates them in time. The symbolism of the Hermit tarot card has come to represent a journey of self-discovery and listening to one’s inner voice.

Brass’s ceramic panels, Every object is related to every other object I-IV are drawings on clay and are instinctive in their generation. They are all made at Helgate Pottery in Norwich and are a way for the artist to develop ideas and make pieces in series, though each is also an independent work in itself.

Beatrice Galletley

Galletley’s ceramic works demonstrate a direct and intuitive approach to her practice. Her fascination with objects in a state of flux has expanded to look at this idea within herself. Exploring these ideas in relation to her life, the ever-shifting nature of humans and living things.

She calls her sculptures, ‘creatures of the subconscious’. In Underdog, the abstract form takes on a creature-like state, encapsulating and making permanent moments within the artist’s subconscious. However, these shift and change with time and context. Where will you find them next?

Through abstraction the ‘creatures’ challenge our existing perception of the world by defying our need to categorise things and thus allowing a new perspective. The ambiguity of these works defies boundaries and categorisation. Beatrice achieves this through merging opposing forms; including geometric and organic, playing with scale, manipulation of context and colour to create works that are suggestive and act as prompts.

Galletley’s ceramic works take on new life as part of her digital collages with whimsical titles such as I am desperate, where her photographed sculptures are superimposed on real locations.

For all enquiries, including purchasing work, please email: hello@carolinefisherprojects.org