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Multiples and simple primitive geometric shapes form the basis of this body of work.

The dynamics of spatial relations are informed by the language of the materials. Working in galvanised steel with grid like structures allows an exploration of containment. Containment within the structures relates to philosophical questions, surrounding gender, society, and environment. Conceptually the grid acts as metaphor for societal superstructures, i.e. the state, institutions, and political ideologies.

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Stack, 2025. Acrylic on repurposed wooden blocks from In Retrospect, 2022

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Stack, 2025. Acrylic on repurposed wooden blocks from In Retrospect, 2022

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Stripped of colour and context, this work explores the thresholds between absence and potential, corrosion and renewal. Its state is suspended, as both structure and rubble. Each block carries remnants of previous purpose, with scratches, dents, and echoes of layers of paint embedded in the wood. Stack mimics its maker, existing forever in limbo, with each iteration patiently awaiting its next destruction, and eventual reformation.

Built to play

Tucked out of sight

Forgotten, remembered

Now washed in white

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Oil and acrylic on paper, 16 x 20”

These paintings began with the act of mixing black - creating a colour to find depth, weight, and nuance. I’m drawn to chromatic black because it asks something of me. There’s intention in the mixing - a ritual that slows me down and brings me closer to the materiality of paint. From that point, anything can happen.

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Andreea Mate’s work draws inspiration from both the past and the present, weaving them together to explore themes such as childhood, upbringing, faith, and cultural identity. Her art delves into the ways these elements shape her personal experiences, emphasising the connections between them. Through this exploration, Mate reflects on how the past informs the present, offering a path toward understanding and processing these for the future.                                                 A central element in this painting is the presence of chess pieces, a nod to Andreea’s childhood, where chess played a significant role. It represents not only a formative part of her upbringing but also a symbolic link to her Romanian identity, chess becoming a bridge to reconnect with her cultural roots. Notably, the king piece lies down in the composition, a deliberate reference to the figure of Jesus and her evolving faith. This detail speaks to a journey of spiritual growth: moving beyond a childlike understanding of belief while simultaneously longing to return to its simplicity and purity. Through this dual lens, the painting becomes both a personal and spiritual reflection.             

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A Sacrifice Worth Making     2022, Acrylic paint on canvas

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A Sacrifice Worth Making     2022, Acrylic paint on canvas

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Still Pretty, 2025. Photocopies of manipulated film stills (LET ME MAKE MYSELF PRETTY FOR YOU, 2022) transferred on canvas with ink detailing.

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Still Pretty, 2025. Photocopies of manipulated film stills (LET ME MAKE MYSELF PRETTY FOR YOU, 2022) transferred on canvas with ink detailing.

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Still Pretty (2025) is a series of photocopy transfers on canvas, developed from stills taken from the 2022 moving image work Let Me Make Myself Pretty For You. The original film reflects on the psychic response to witnessing and feeling the relentless pressure to perform beauty — not as an act of self-expression, but as a form of survival in an image-saturated culture.

These still works extend that inquiry into material form. Transferred onto canvas and detailed with pen and ink, the images are mirrored and manipulated to resemble figures, masks, or psychological inkblots. The process introduces distortions, smudges, and residue that mirror the fracturing of the self under the weight of impossible beauty standards. This is not simply an exploration of how we are seen, but how we come to see ourselves through a lens of internalised surveillance — where self-perception becomes a site of scrutiny and fragmentation.

As part of The Space In Between, these works dwell in the threshold between moving image and stillness, between subject and surface. They reflect the ongoing tension between visibility and erasure, spectacle and authenticity, and the labour of maintaining a self within the confines of performance.

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Collected Frames From 'A Slip Between Worlds'.

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Collected Frames From 'A Slip Between Worlds'.

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These frames are a part of an animation I made for a previous exhibition. They grasp and reach towards the viewer inviting them into their cold embrace. My original animation was my own interpretation of a night I had a run in with death, where as I lay there in and out of consciousness i saw these large black ands reach out to me from a blinding white light, beckoning my body toward them, though they stand on their own as individual art pieces. I made 61 frames in total, all on acetate, these are just a small selection of the frames that i liked the most. Death is something so prevalent in our lives, but is something seemingly taboo to talk about in our culture, though it's a reality for everyone, no matter who you are. I think conversations about death need to be more prevalent, it's looming presence needs to be talked about and normalised not as a fear but as an inevitability, as something that's inherently human.

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Georgia's artistic practice focuses on a nostalgic yet contemporary exploration of mid-20th century French Cinema and the incorporation of musical elements. She is fascinated with capturing the essence and mood of films from the 1960's - specifically their visual language, actors, and cultural vibe - through the process of collage and printmaking. The artist does not try and create a specific narrative or story with her art, but rather let the work speak for themselves and be interpreted in whatever way the viewer chooses.

Georgia uses imagery from films - and actors lives in between those films - that visually inspire the artist whether that is through the scenery, story, or its characters. The inclusion of lyrics and music in certain pieces further emphasises a cross-disciplinary approach, where she blends visual art with auditory elements to deepen the emotional experience. Georgia aims to reinterpret the glamour and nuances of 60s cinema through iconography of her favourite actors of that era, particularly the French New Wave, and its lasting influence on contemporary art forms. The integration of these different mediums creates a fluid, dynamic practice that is interested in both the past and its ongoing relevance today.

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dowels mounted on hessian-lined wooden frame,

50 x 50 cm, 2025

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joining biscuits mounted on hessian-lined wooden frame,

50 x 50 cm, 2025

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Mai’s works for The Space In Between are rooted in repetition, discipline, and the subtle interplay of presence and absence. Using minimal materials and a monochrome palette, she constructs precise, textured compositions that invite contemplation of silence, resilience, and memory. Each element is carefully placed, forming patterns that echo both structure and vulnerability, reflecting her trauma-informed practice and Filipino heritage. These works invite viewers to pause at the threshold, prompting them to consider what reveals itself and what remains unspoken in the spaces in between, existing between stillness and movement, visibility and erasure.

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Instagram: @georgia.ruby.art