Bolding

Motunrayo Akinola is presenting a new performance work with Bolding ‘That Last Great Tea Party’ which investigates the invisible constructs that govern social mobility. With luck and heat. The Last Great Tea Party resists passive spectatorship. To attend is to participate, and to participate is to become both subject and witness to the forces the work sets in motion. The performance will be presented as part of Bolding’s ongoing commitment to live and durational practices that centre the body as a site of inquiry. 28th + 29th May, 7-9pm. Tickets in bio and here: /e/motunrayo-akinola-that-last-great-tea-party-tickets-1988489445460 +_+_+_+_+_+_+_+_+_+_+_+_+_+_ Motunrayo is a cross-disciplinary artist, working across sculpture and installation. His work explores themes of class, access and a sense of belonging. The work, made primarily from cardboard, tape and shellac, reflects the artist’s architectural sensitivity to our contemporary social environment; part of a post-colonial dialogue guided by conversations of care, collective memory and the politics of hierarchy. As a British-Nigerian who has lived in both countries, Motunrayo’s work examines the subtle differences in how place, identity and movement are experienced. Using ambiguous but familiar materials, his installations evoke forms that suggests both shelter and exclusion, and considers how physical and social structures continue to shape ideas of social mobility, ambition and opportunity. Recent exhibitions include ‘Of Presence and Absence,’ KO Artspace, Lagos (2026), ‘The one about the thing under the bridge,’ Flatland Projects, Bexhill on Sea (2025), ‘I ‘n’ I,’ Magma galleries, Melbourne (2025) and ‘Knees kiss ground,’ South London Gallery, London (2024).

Iolo Walker and Bolding present Canaries, a new series of needlework pieces in their first solo exhibition. Walker employs the medium of digital embroidery to explore how human subjectivity is informed by excavation and expansion. The title Canaries is a reference to their extended research into coalfields and dysmorphic ecologies. Depicted through a high fructose lens, the canary embroideries simultaneously exist as bringers of cheer and of doom. Iolo Walker  Canaries 24 April - 30 May 2026 Bolding Marylebone —————— Iolo Walker is a multidisciplinary artist from Newham, currently based in Eryri, Wales. Their practice spans filmmaking, digital embroidery, performance and sculpture, which intertwine to explore mimicry and dysmorphic landscapes. Alongside exploring the materiality of film as a medium, filmmaking is used as an ontological device to research horizontal levels of production.

That Last Great Tea Party A new performance work by Motunrayo Akinola presented with Bolding. 28–29 May 2026 Bolding Mayfair A performance structured by chance, etiquette, hierarchy, and play. With silverware by Frankie Storey @frankie.smash Tickets in bio! Slides 1 + 5 of APPLAUSE – Right Way in, 2025. Performed at NC Live at the ICA. Photo: Sam Nightingale. Slide 4 from Footwash Screening (First) Interview, 2024. Performed at South London Gallery. Photo: Sam Nightingale

OI! OI! LONDON! NEW ANNOUNCEMENT! @rumpelst1ltsk1ns X @bolding__ Launching Sat 6th June @alfiesantiques 13-25 Church Street London NW8 8DT 11-6PM Our first born @_4_f_s_b_ @aaaaaaaaaaaaaaazar @chiarafairfaxx @gracesnellock @jofetto @miavio1et_ @moniquefei @nedrobinsonjones @puff.bouquets by @jane.norman.official @rambooks66 @roxy_lee @zahravannguy3n With Latex served martinis & jellies courtesy of Circus of Fear & @mariifontanaa Thank you @djforever123456789 for the logo 💋 See yew there! Hehehehehehhehe

In anticipation of welcoming you back into our space for the next mayfair show ‘That Last Great Tea Party’ with Motunrayo Akinola, we’re looking back to Ella Turner-Bridger’s performance with us last summer. In 709 Reckoning (its title taken from the colour space used in editing to homogenise various colour tones, particularly flesh) machine logic and human assertion orbit the tension of partner or director. Turner-Bridger appoints a drone as her partner in an enacted courting ritual. Centering around an obsessive form of self-portraiture, the show sees the Camera transformed into a site of liberation. Working across video, photography, performance and installation, Ella Turner-Bridger’s practice explores the psychological dynamics between human and machine. For Turner-Bridger, the camera becomes both protagonist and witness in her drama of self-examination. The machine’s camera’s flaws become character defects in comparison to the human body: poor pixel quality, physical dysfunction, and sensor lag. These failures are not obstacles but entry points into larger questions of what it is to be human, she intends to exploit and abuse these mechanical weaknesses. Ella Turner-Bridger (b. 1998), lives and works in London. She received her BA from the Slade School of Fine Art in 2020. Previous exhibitions include Maratona Di Visione at C.F. Contemporary in Italy (2023), Ancient Vessels at A.P.T Gallery (2022), On The Rocks at Unit 1 Gallery (2020), and Keep The Fire Burning at No Format Gallery (2020).

Install shots of ‘Canaries’ a solo exhibition by Iolo Walker. Come see us come see the work!! On display until 30 May +_+_+_+_+_+_+_+_+_+_+_+_ Iolo Walker is a multidisciplinary artist from Newham, currently based in Eryri, Wales. Their practice spans filmmaking, digital embroidery, performance and sculpture, which intertwine to explore mimicry and dysmorphic landscapes. Alongside exploring the materiality of film as a medium, filmmaking is used as an ontological device to research horizontal levels of production.

Iolo Walker, The Looking Tree, 2026. Thread and wood, 60 x 40 x 1 cm. Up on display as part of Walker’s solo exhibition ‘Canaries’, until 30 May. Standing as synecdoche for state power, ‘The Looking Tree’ is an angry amalgam of cameras glaring from a CCTV security tree, descendant of the panopticon. The works in the show sit atop a wallpaper inspired by the procession of animals in Noah’s Ark, a parade of species carried through catastrophe. Here, wildlife sits at odds with the mass organisation of bodies and the forward-March of technological order; it comes to enact a memento mori. In Mark Z. Danielewski’s book House of Leaves, precariat character Johnny Truant exchanges poems in place of money for goods. He called them ‘The Pelican Poems’. Embroidery for Walker has similarly taken on this means of monetary exchange as they have found themselves creating needlework to give as gifts or in some instances use as a means of exchange. Thus was born The Canary Embroideries. +_+_+_+_+_+_+_+_+_+_+_+_ Iolo Walker is a multidisciplinary artist from Newham, currently based in Eryri, Wales. Their practice spans filmmaking, digital embroidery, performance and sculpture, which intertwine to explore mimicry and dysmorphic landscapes. Alongside exploring the materiality of film as a medium, filmmaking is used as an ontological device to research horizontal levels of production.

Some documentation of Sweet Cautery from UNU @saintpetal @_fei__fei_ @humanres0urce 10/04/2026 @bolding__ we’d been working on this project for a while, we began discussions in 2023, took a break and then picked it up again end of last year, meeting online with 8hr time differences. we’d all been living in london at different points of time, and interested in how the city / city cultures changes the psychic space, our emotional engagements with each other, and how capital permeates. we began urban noetics union as a forum and learning space for us to think through processes of these ideas. we devised the performance like a game, travelling through different action points , which we developed through a week together at @bid_obs . I have been enjoying thinking of different ways that one can use a camera, as a filmmaking tool, as a game tool, as a performance tool, as a liberatory tool. how u can make film/filmic items through different gameified/ participatory modalities. i have some ideas to continue thinking through these questions, if anyone has any references for cameraes used not to make films id love to hear them! Was a honor to work with bea and laura, learnt loads, and tysm @razzmatezz for inviting us and also being so diligent in your support 🛎️🪽🪽 and to @_scorch__ and @anstrutherc for much needed last min support 💖💖

Ahead of Iolo Walker’s solo ‘Canaries’ opening with us tomorrow, we’re looking back to some images from ‘Sweet Cautery’ which they displayed two weeks ago with Bea Xu and Laura Marija Balciunaite.  Laura Marija Balciunaite, In Time, Blue Rose Drawing, Spirals, 2026. Bea Xu, The Dynamo is Working Exactly as Intended, 2026. Bea Xu, Each One Pregnant with a Dazzling Vision, 2026. Photos by @magnus.mb +-+-+-+-+-+- Laura Marija Balciunaite is a former artist flâneuse becoming a he(art) worker between Vilnius and London. Channelling a need for softness through sound, drawing, and somatic movement, she produces sensual energy and healing in vulnerability, exploring new forms of intimacy tightly connected to the erotic flow of the universe. Laura’s work has been presented at the Medūza (LDS) Gallery, Žeimiai Manor, Rupert, the Kaunas Performance Weekend, Ubiškės3. Bea Xu is a Chinese British psychic worker exploring the use of psycho-technologies for reality production through live art and mixed media installation. A practicing integrative, transpersonal psychotherapist, they have shown work at New Fears Gallery, Gossamer Fog, FORMA, LungA Festival and Pratt Institute - with a recent residency at Organhaus, Chongqing, producing works for Bolding.

Iolo Walker, Millefleur and Unicorns 2012, 2026. Thread and wood, 60 x 40 x 1 cm. This work will be shown among others as part of ‘Canaries’, Iolo’s first solo exhibition opening at Bolding Marylebone this Saturday. PV 16:00-18:00. Iolo Walker and Bolding present Canaries, a new series of needlework pieces which employ the medium of digital embroidery to explore how human subjectivity is informed by excavation and expansion. Research into coalfields and the industrialisation of the South Wales region, specifically Maesteg where their family is from, was a starting point for the exhibition. The title ‘Canaries’ is a reference to the small birds being used to gauge levels of any leaking toxic gas. If the bird died, it warned workers to mask up and evacuate. The idiom “a canary in a coalmine” now describes an early herald of greater trouble to come. Depicted through a high fructose lens, the canary embroideries simultaneously exist as bringers of cheer and of doom. +-+-+-+-+- Iolo Walker is a multidisciplinary artist from Newham, currently based in Eryri, Wales. Their practice spans filmmaking, digital embroidery, performance and sculpture, which intertwine to explore mimicry and dysmorphic landscapes. Alongside exploring the materiality of film as a medium, filmmaking is used as an ontological device to research horizontal levels of production.

Images from ‘Sweet Cautery’ the other week at Bolding Mayfair with unu (urban noetics union), comprising artists Iolo Walker, Laura Marija Balciunaite and Bea Xu. Photos 1-4 by @magnus.mb Photos 5-8 by @jumbotsui ‘Today, only an apocalypse can liberate– indeed, redeem– us from the inferno of the same, and lead us toward the Other.’- Byung-Chul Han. Sweet Cautery was a live performance and exhibition exploring love through myth, spirituality, and contemporary digital culture. Moving between ancient ideas of agape, the symbolism of the rose, and the online phenomenon of “twin flames,” the work interrogates how intimacy is commodified and ritualised within today’s “love industrial complex.” Blending sound, recitations, and participation, the performance embodies both meditation and critique. This marked the first formal collaboration between unu’s members, following two years of shared research and production around Magic & Rituals as part of Rupert’s Alternative Education Programme (2021–2023) in Vilnius, Lithuania. With thanks to the Lithuanian Culture Institute.

Eunjo Lee, If you live within and die without, 2026. 3D Animated video, 10 minutes, 20 seconds. It’s the last week to see Eunjo Lee’s work alongside the other artists in group exhibition ‘Old Wives’ Tales’ curated by Yi Ting Lee up at Bolding Marylebone until April 18th. The gallery is open by appointment Tue-Sat 10-6. Industry and nature coalesce in this world, where mechanical function is fused with organic systems. Allusions to sacred beliefs and mythologies commingle: the biblical Garden of Eden; Hecate, the Greek goddess of the moon, necromancy and the night; and the Korean imugi, a python-like creature awaiting ascension to dragonhood who brings rain and cures droughts. Mythical beings inhabit a narrative that gestures simultaneously to the beginning and end of time, addressing themes of sacrifice, life cycles, memories, legacies and the burdens of the past. In doing so, the work reflects on the creative capacity and growing dominance of its own medium. Commissioned by HERVISIONS Music: Juliet Merchant Sound design: Harry Charlton Courtesy of the Artist and Niru Ratnam, London +-+-+-+-+-+-+-+-+-+-+ Eunjo Lee (b. 1996, Seoul, South Korea) is a London-based artist and filmmaker whose work explores the interconnectedness of humans, nature, objects, and concepts. Drawing on ecological and relational frameworks, she employs mythological elements to reevaluate human ontological positioning, emphasising the role of digital art in depicting these relationships. Lee is represented by Niru Ratnam, London.