No Show Space

Last few days to see Ryan Christopher, Apparatus Notes, a solo exhibition of new sculpture and text-based work at No Show Space. Exhibition runs until Saturday 22 November 2025 Open Wed - Sat, 12 - 6 pm or by appointment PLEASE NOTE we will be opening an hour later on Friday 21 November at 1PM @ryan.christopherlh (b. 1998, UK) is an artist based in London. He recently graduated from Sculpture (MA) Royal College of Art, London 2024-2025 @rcasculpture and completed a two-year residency at De Ateliers, Amsterdam from 2022-2023 @deateliers He is a graduate from Fine Art (BA) Coventry University 2018-2021. Image credit: Hook to Dispenser, 2025, Plywood, 21.4 cm x 30.3 cm x 44.5 cm

Opening tomorrow Ryan Christopher, Apparatus Notes Please join us for the opening preview Thursday 23 October, 6:30 - 8:30pm at No Show Space, London Exhibition runs 24 October to 22 November 2025 Open Wed - Sat, 12 - 6 pm or by appointment No Show Space is pleased to present a solo exhibition of new sculpture and text-based work by Ryan Christopher @ryan.christopherlh Ryan Christopher (b. 1998, UK) is an artist based in London. He recently graduated from Sculpture (MA) Royal College of Art, London 2024-2025 @rcasculpture and completed a two-year residency at De Ateliers, Amsterdam from 2022-2023 @deateliers He is a graduate from Fine Art (BA) Coventry University 2018-2021. Image credit: Ryan Christopher, Excerpt from On the Human Image of God, c. 379 CE, Gregory of Nyssa (1), 2025 Pencil on wall 45 cm x 32 cm

Ryan Christopher, Apparatus Notes, 24 October - 22 November, 2025 Please join us for the opening preview Thursday 23rd October, 6:30 - 8:30 pm No Show Space is pleased to present a solo exhibition of new sculpture and text-based work by Ryan Christopher Apparatus Notes 1. An excerpt from On the Human Image of God, a treatise by Gregory of Nyssa, the fourth-century Cappadocian theologian and mystic, drawn from a section on soul–body interactions mediated by ‘pores’, invisible passages throughout the body for spirit, breath and fluids. To illustrate these interactions, he offers a psychosomatic description of the respiratory (breathing) apparatus in a state of grief. In such a state, these invisible pores contract and compress, with groans or shrieks released as the body attempts to widen them. 2. A 2020 study showing the ability of New Caledonian crows to ‘plan for specific future tool use’. When presented with baited apparatuses and a selection of objects, only one of which was useful, crows were required to use the correct tool in order to gain a food reward. Correct tool–apparatus combinations were as follows: stick to tube, stone to platform, hook to dispenser. Central to the exhibition are these two seemingly unrelated notes. One, a fourth-century theological treatise; the other, a contemporary study of animal cognition. Both are concerned with apparatus and the systems, mechanisms, or conditions through which bodies interact with the world. Gregory of Nyssa’s excerpt outlines a spiritual physiology of grief, describing the body's involuntary release mechanisms as the respiratory system responds to sorrow. The crow study, by contrast, documents intentional, tool-based interactions with baited apparatuses which involve acts of planning, precision, and cognitive mapping. Through this juxtaposition, Christopher explores apparatus not merely as object or instrument, but as a conceptual hinge between bodily impulse and rational function, mysticism and science, grief and intelligence. Positioning the crow as an unseen mortality figure that acts upon the body. @ryan.christopherlh (b. 1998, UK) @deateliers  2022 - 2024 @rcasculpture 2024 - 2025

Jonny Thaw, Be the paint, Bespoke software embedded on No Show website, 2025 No Show Space is pleased to launch a new online project by Jonny Thaw, 'Be the paint'. To activate: - Go to NO SHOW website & click ON in the menu - Click OFF to resume normal website behaviour Artist's text: Be the paint is a collaborative work, but perhaps without the formal foundation of collaboration. The piece utilises the visuals from other artists on the No Show Space website, to create in itself, an entirely whole new artwork, with the added variance of randomness and chance. When given the brief for the ON/OFF project for No Show, it felt like permission was given to me to change my perception on what kind of work I could create. And like with many things in life, it felt like it had no connection to other things I had been working on, but in fact when taking a step back, it does, it ends up being a direct response to earlier desires I’ve had of being the ring leader for work, rather than being the ego, setting up systems for creation, allowing room for chance and surprise, a nod to the generative and conceptual art worlds that I have so fondly indulged in. In fact it ended up with the title being the most forced part of the piece, because I had none in mind and nothing showed itself to me when making it either. – Jonny Thaw Jonny Thaw lives and works in Shrewsbury, Shropshire. Having studied Graphic Design at University for the Creative Arts Epsom, his work sits at a crossroads of design formality, technological intrigue and artistic idealism. He has been artist in residence at Music Hackspace in Somerset House and School of Visual Arts in New York. He was a member of the art collective MSCHF. Screen grab of Jonny Thaw, Be the paint, 2025

It's the last few days to view 'The Centre Never Held' by Raha Farazmand at No Show Space Exhibition documentation is online Raha will be @noshowspace on the closing day, Saturday 19 July, if you'd like to meet her and view the work in person Images L to R: The Centre Never Held, 2025 Oil on Canvas, 185 x 135 cm Post-Production, 2025 Oil on Canvas, 60 x 42 cm Cow Down, 2025 Oil on Canvas, 60 x 46 cm Eruption, Meltdown and Sugar Rush, 2025 Oil on Linen, 70 x 50 cm A Fable Without Furniture, 2025 Oil on Canvas, 70 x 60 cm Non-transcendentally Figurative 3, 2025 Non-transcendentally Figurative 2, 2025 Non-transcendentally Figurative 1, 2025 All Soft Pastel on Pastelmat 24 x 30 cm

Raha Farazmand's show The Centre Never Held continues at No Show Space until July 19th. Eruption, Meltdown and Sugar Rush, 2025 Oil on Linen 70 x 50 cm

Opening tonight Raha Farazmand, The Centre Never Held Please join us for the opening preview Thursday 19 June, 6:30 - 8:30pm at No Show Space, London Exhibition runs 20 June to 19 July 2025 Open Wed - Sat, 12 - 6 pm or by appointment No Show Space is pleased to present a solo exhibition of new paintings by Iranian artist Raha Farazmand @rahazmand Raha Farazmand (b. 1983, Tehran, Iran) lives and works in London. She completed The Drawing Year at the Royal Drawing School @royaldrawingschool in 2022 and qualified as an architect in 2017 having studied at the Architectural Association, London @aaschool and Yazd University, Iran. Image: Raha Farazmand, Non-transcendentally Figurative-1, 2025 Soft Pastel on Pastelmat, 24 x 30 cm

Raha Farazmand, The Centre Never Held, 20 June to 19 July 2025 Please join us for the opening preview Thursday 19 June, 6:30 - 8:30pm at No Show Space, London Exhibition open Wed - Sat, 12 - 6 pm or by appointment No Show Space is pleased to present a solo exhibition of new paintings by Iranian artist Raha Farazmand @rahazmand The Centre Never Held probes the fragility and mutability of allegory in painting. Farazmand combines the abstract and figurative to examine how meaning, once rooted in specific cultural, political, or moral contexts, becomes unstable over time and is revealed as a precarious construct, shifting and fragmenting across time and culture. These evocative paintings are in control of what is revealed and what is left to intrigue and suggestion. This tension is achieved with an understanding and deft handling of the medium, whether oil on canvas or pastel on paper. Farazmand’s work stages a dialogue between the monumental theatricality of Peter Paul Rubens’ Baroque canvases and the narrative subtlety of Kamal al-Din Behzad’s Persian miniatures. Behzad and Rubens were both court painters who served expansionist empires: Behzad under the Timurids and later the Safavids, and Rubens under the Spanish Habsburgs and various Catholic monarchs. Both used images to support imperial authority, though their approaches and cultural frameworks differed. Farazmand situates these historical works within contemporary anxieties about media representation and the distortions of meaning in today’s visual culture. Through these transregional and historical parallels, The Centre Never Held reveals a body of work that traces the erosion of fixed meaning, questions the authority of the image, and invites multiple, even contradictory, interpretations. Revealing painting itself as a site of negotiation, slippage, and critical possibility. Raha Farazmand, born in Tehran, Iran, in 1983, lives and works in London. She completed The Drawing Year at the Royal Drawing School @royaldrawingschool in 2022 and qualified as an architect in 2017 having studied at the Architectural Association, London @aaschool and Yazd University, Iran.

Last two weeks to see Lee Triming past perfect, imperfect, imperfect, subjunctive, subjunctive, perfect, present, present, imperfect, imperfect, present, present If you are planning a visit Lee will be here on Saturday 19 April between 12 and 6pm. Exhibition runs until 26 April 2025 Open Wed - Sat, 12 - 6pm Image: Lee Triming, No Title, 2021, Pencil and coloured pencil on paper, 18 x 20 cm

Opening tonight - Lee Triming past perfect, imperfect, imperfect, subjunctive, subjunctive, perfect, present, present, imperfect, imperfect, present, present Please join us for the opening preview 6:30 - 8:30 pm, Thursday 27 March at No Show Space, London Exhibition runs 28 March - 26 April 2025 Open Wed - Sat, 12 - 6pm

Lee Triming opening preview Thursday 27 March, 6:30-8:30 pm past perfect, imperfect, imperfect, subjunctive, subjunctive, perfect, present, present, imperfect, imperfect, present, present Exhibition runs 28 March - 26 April 2025 at No Show Space, London Open Wed - Sat, 12 - 6 pm or by appointment These drawings were made thinking about Robert Barry and Moe Tucker. Other things too – they mostly take a while to come together – but to keep things manageable, these two: this conceptual artist, this drummer. I use grids and templates to get a drawing started. Not-quite-zen mind humming and looping while the hand repeats small movements, reaches for the rubber. Building and collapsing rhythms. So I think about drumming and drummers all the time. I like drum patterns that fall apart or get lost in noise, maybe come back again. Moe Tucker has this particular quality of insistence, how her singing and drumming ride differently forward, quavering, firm, simplicities that can get read as lack of ability rather than commitment to a particular tenderness and intelligence. Intelligence that slips under radars that stubbornly fail to attune to what it values. There’s an early interview with Robert Barry where you can almost hear him sighing, either at the questions, or what they point at, or his own confusion, or something all that and bigger. This was shortly after he released cannisters of helium, neon, argon, krypton, xenon, back into the atmosphere. I think about those gases which are still, probably not expanding, but meandering, reconfiguring. I like that the work wasn’t recorded or presented, just announced. He circulated posters with a phone number, and if you called it, a message recounted the conditions of the work. “From a measured volume to indefinite expansion.” Early conceptual art gives you information you can use to assemble something uncertain. I like how that head game overlaps with and helps me think about looking as an unstable undertaking. Lee Triming (b. 1971, Brentwood, Essex) lives and works in London, and teaches at the Ruskin School of Art @ruskin_school_art_oxford Photo credit: Diego Hernández

Final week for Kelly Lloyd , things like this. @noshowspace Exhibition closes Saturday 14 December, 6 pm. Exhibition documentation now online. Image 1: Kelly Lloyd, Philip IV on Horseback, 2024. Oil paint, vinyl. 210 mm x 297 mm. Image 2: Kelly Lloyd, The Surrender of Breda, 2024. Oil paint, vinyl. 210 mm x 297 mm. Image 3: Kelly Lloyd, Gaspar de Guzmán, Count-Duke of Olivares, on Horse-back, 2024. Oil paint, vinyl. 210 mm x 297 mm. Image 4: Kelly Lloyd installation view at No Show Space, 2024. From left to right: Gaspar de Guzmán, Count-Duke of Olivares, on Horse-back, 2024; The Surrender of Breda, 2024; and Philip IV on Horseback 2024. Image 5: Kelly Lloyd, Computer (Clear) III, 2023. Glass, Solder. Depth 370 mm, length 305 mm, height 150 mm.