Will Davis

- Veronica Ryan: Multiple Conversations Whitechapel Gallery, London 1 April - 14 June 2026 ‘Multiple Conversations’ at Whitechapel Gallery, London, spans four decades and features over 100 objects, including new ceramic and textile pieces especially conceived for the exhibition, as well as several works not seen since the 1980s. Her meticulous handcrafted sculptures and installations draw on a wide range of materials including bronze, plaster, marble and textiles, and are often combined with everyday objects. They reveal a deep interest in psychology, memory and personal stories, while also connecting to wider themes around the environment, history, trauma and recovery. Veronica Ryan OBE RA, Confluence of Feelings, 2022 ©️ Veronica Ryan. Photo: Michael Brzezinski.

Now open: Alison Jacques, TEFAF MAASTRICHT: STAND 457, 12 – 19 MARCH Maeve Gilmore b.1917, London, UK; d.1983, London, UK Untitled: Gated Path, 1942 c. Oil on canvas 63 x 48 cm, 24 3/4 x 18 7/8 in, framed PACITA ABAD, EILEEN AGAR, SOPHIE BARBER, MARIA BARTUSZOVÁ, LYGIA CLARK, MAEVE GILMORE, SHEILA HICKS, NICOLA L., GRAHAM LITTLE, BONA DE MANDIARGUES, ROBERT MAPPLETHORPE, ANA MENDIETA, ROY OXLADE, GORDON PARKS, CAROL RHODES, DOROTHEA TANNING, ALISON WILDING AND HANNAH WILKE.

Tickets are now available for one of the most important exhibitions of the year: Ana Mendieta at Tate Modern. It is both an honour and a privilege to support Mendieta’s legacy and work alongside Raquel Cecilia Mendieta. Opening 15 July, Tate Modern presents a major solo exhibition, including newly remastered films and late sculptural pieces, many of which have never been seen in the UK before. This exhibition will shine a light on Mendieta’s trailblazing practice, reinforcing her standing as one of the most important artists of the 20th century. @tate @raqceci @alisonjacquesgallery _ Ana Mendieta, ‘Imágen de Yágul’, 1973 ©️ The Estate of Ana Mendieta Collection LLC. Licensed by Artist Rights Society (ARS), New York / DACS, 2026 / Courtesy Marian Goodman Gallery and Alison Jacques, London.

Today is the final day to see our beautiful exhibition by Gina Kuschke, ‘A Place Beyond’. I’ll be in the gallery until 16:00, so come and say hi. Gina Kuschke Pink Atlantic, 2025 Oil on canvas 200 x 250 cm, 78 3/4 x 98 3/8 in ©️Gina Kuschke. Photo Alison Jacques (Photo Michael Brzezinski) @ginakuschke @alisonjacquesgallery

We’re delighted to announce the publication of Maeve Gilmore by Lucy Scholes, the latest title in Eiderdown Books’ Modern Women Artists series and my first publication project, now available to order @eiderdownbooks Maeve Gilmore’s Self-Portrait, painted in 1938, marks the earliest known instance of the artist turning her gaze on herself. She was just twenty-one years old, newly married to the writer and artist Mervyn Peake, and had only recently left Westminster School of Art, where the two met. Shy, romantic, and raised within the strict structures of a Catholic education, Gilmore arrived at art school still finding both her artistic language and her sense of independence. In this portrait, she presents herself with a composure that feels almost older than her years: hair carefully arranged, shoulders squared, seated upright as if assuming the role of the artist before she fully believed in it. Signed simply “Maeve,” the work captures a young painter on the threshold of adulthood—newly in love, newly committed to art, and stepping into a life that would be shaped by both domestic intimacy and creative ambition. Maeve Gilmore Self-Portrait, 1938 Oil on canvas 63 x 53 cm, 24 3/4 x 20 7/8 in, framed ©️ Maeve Gilmore Estate. Photo Alison Jacques (Photo Michael Brzezinski) @alisonjacquesgallery @maeve_gilmore_estate @scholeslucy

Maeve Gilmore, Portrait in Blue with Cat, c.1978, Alison Jacques, Art Basel Paris, C45. Maeve Gilmore 1917-1983 Portrait in Blue with Cat, c.1978 Oil on canvas 20 x 15.5 cm 7 7/8 x 6 1/8 in © Maeve Gilmore Estate. Photo Alison Jacques (Photo Michael Brzezinski) @alisonjacquesgallery @maeve_gilmore_estate

Maeve Gilmore, Figure with Cat, c.1940s, Alison Jacques, Frieze London, A25. Maeve Gilmore 1917-1983 Figure with Cat, c.1940s Oil on paper 47 x 52 cm 18 1/2 x 20 1/2 in © Maeve Gilmore Estate. Photo Alison Jacques (Photo Michael Brzezinski) @alisonjacquesgallery @maeve_gilmore_estate

Tonight Eddie Peake, The Pervert, CAPC Musée d’art Contemporain de Bordeaux [17 May 2025 / 21:30 / 45 mins], 2025. Performed by Emma Fisher, Kieram Corrin Mitchell, Kirke Gross, Eddie Peake, Yacine Sif el Islam, Jaya Twill and Proscenium Arch. Photo: Eddie Peake, The Pervert, Horst Festival, Vilvoorde, Belgium [1, 2, 3 May 2025 / 19:30 / 40 mins], 2025. Performed by Emma Fisher, Juliette Yasmine Mello, Kieram Corrin Mitchell, Kirke Gross, Eddie Peake, Jaya Twill and Proscenium Arch. ©️ Eddie Peake. Photo Horst Arts and Music Festival (Maryan Sayd) @eddie_peake @emmalynne.fisher @corrinmitchell @jaya.twill @kirke.xx @yacine_sif_el_islam @capcmusee

Eddie Peake, The Pervert, Horst Festival, Vilvoorde, Belgium [1, 2, 3 May 2025 / 19:30 / 60 mins], 2025. Performed by Emma Fisher, Juliette Yasmine Mello, Kieram Corrin Mitchell, Kirke Gross, Eddie Peake, Jaya Twill and Proscenium Arch. The Pervert is a performance work consisting of choreographic patterns of dance and sound, reflecting on states such as embarrassment, depression, obsession, intoxication and desire. The piece is performed by dancers, musicians and actors, some of whom are gold-painted and nude. A narrator playing the character of “Eddie Peake” delivers a soliloquy conveying highly individual and personal vulnerabilities. The piece is structured as a non-linear narrative and features a musical soundscape played live by Eddie Peake and Kirke Gross. Images: Eddie Peake, The Pervert, Galeria Municipal do Porto, Portugal [1 Mar 2025 / 19:05 / 30 mins], 2025. Performed by Emma Fisher, Jorge Gonçalves, Kieram Corrin Mitchell, Eddie Peake, Jack Peñate, Jaya Twill and Proscenium Arch. ©️ Eddie Peake. Photo Galeria Municipal do Porto (Renato Cruz Santos)

Next week is the last opportunity to see Maeve Gilmore at Alison Jacques, which continues until 3 May 2025. It’s a very special show and I hope you all have the chance to see it. This exhibition offers a comprehensive overview spanning nearly 40 years of paintings, works on paper and objects, contextualised with images of her hand-painted murals, which once covered the walls of the family home in Drayton Gardens, Chelsea. By bringing together all aspects of her creative output – from homemaking to art making – this exhibition offers an insight into Gilmore as a shrewd and loving observer of domestic life. She took particular delight in the playfulness of her children as they lost themselves in gymnastic stunts, in games of dressing up, or cat’s cradle, but did not shy away from darker feelings around the coexistence of her domestic role and her steadfast dedication to making art. ©️ Maeve Gilmore Estate. Photo Alison Jacques Gallery (Michael Brzezinski) @maeve_gilmore_archive @alisonjacquesgallery

Maeve Gilmore (London, UK 1917 – London, UK 1983) One of the rare examples of Maeve’s dreamscapes. There are only a handful that exclusively let us into her imaginary world. Usually working with her surroundings, even in the 1950s, when the application, composition, and colours get pushed to their limits; the subjects remained familiar. However, in Untitled: Gated Path, c.1942, we see an ominous path ahead, with otherworldly plants and a gate that restricts a world we will never reach. The gate could be read as a metal bed frame, but its role is clearly to protect us from what’s outside or prevent us from moving forward. Maeve Gilmore at Alison Jacques continues until 3 May 2025. Maeve Gilmore 1917-1983 Untitled: Gated Path, c.1942 Oil on canvas 61 x 46 cm 24 x 18 1/8 in ©️ Maeve Gilmore Estate. Photo Alison Jacques Gallery (Michael Brzezinski) @alisonjacquesgallery @maeve_gilmore_archive

Maeve Gilmore (London, UK 1917 – London, UK 1983) During the 1940s, Maeve’s work is studiously filled right up to the edges, perfecting every detail and working to understand the paint as the image unfolds, while taking inspiration from the subjects in her surroundings. Maeve Gilmore, Still Life, c.1945 features an unknown book in electric yellow, layered against a red cloth and the grain of a wooden table, perfectly coupled with an etched glass bottle and flowers from the garden. Maeve Gilmore at Alison Jacques continues until 3 May 2025. Maeve Gilmore 1917-1983 Still Life, c.1945 Oil on canvas 40.5 x 51.6 cm 16 x 20 1/4 in ©️ Maeve Gilmore Estate. Photo Alison Jacques Gallery (Michael Brzezinski) @maeve_gilmore_archive