Exhibitions and Events
| Gallery | Artist | Dates |
| Photography Gallery | Jim Souper | 31st Jan – 5th Apr ’26 |
| The Crossley Gallery | Philip Booth | 21st Feb – 24th May ’26 |
| Tiny Gallery | Linda Brill | 27th Feb – 23rd Mar ’26 |
| Upstairs & Mosaic | Louis Benoit | 28th Mar – 31st May ’26 |
| Photography Gallery | Royal Photographic Society | 18th Apr- 21st Jun ’26 |
Philip Booth
Breathing Out Slowly
The Crossley Gallery
21st February – 24th May 2026
In Zen, full attentiveness is found in the slow exhale — a principle mirrored in my work, which invites sustained looking and rewards repeated encounters. Rooted in early conceptual art, lightly baroque in tone, and with an inherent critique of the purely gestural, the work explores our layered and often fractured relationship with nature. It challenges the perceived divide between humankind and the natural world, while also celebrating nature’s richness.
Drawing is often the starting point, especially in landscapes with an “edge of the world” quality—places of collision and tension. These encounters evolve through a process of invention and integration, resulting in abstract forms that suggest geology and natural forces without replicating them. The work engages myth, assemblage, and makes reference to an expansive range of material, creating a space that moves outward from the wall toward the viewer, echoing the experience of landscape.
Meticulous and contemplative, yet intricate and dynamic, the work seeks to express vital matter beyond anthropocentrism—foregrounding nature’s agency over human control. It operates in the space between mathematics and art, geometry and flow, abstraction and figuration, experience and myth. My practice is primarily studio-based, with additional work in commissions, landscape design, and public art. My work is held in private collections across the UK, EU, and Japan, and in the British Museum.
Linda Brill
New Work
The Tiny Gallery
27th February – 23rd March 2026
My paintings are an invitation to reflect on the still and the everyday. I aim to capture the material qualities of objects, the differing textures, the play of light.
My work celebrates both the stillness and the life of things, organic or man-made and is both meditative and contemplative. There is beauty to be found in the everyday.
Louis Benoit
Mechanical Animal
The Upstairs and Mosaic Galleries
28th March – 31st May 2026
Preview 31st January 12-2pm All Welcome
The idea of a mechanical animal suggests a kind of uneasy fusion—creatures shaped by instinct but held together by something more rigid, more imposed. It’s a title that speaks to adaptation, survival, and the tension between inner life and external structure.
Louis Benoit’s drawings are immediate, instinctive, and deeply personal. His animals, often hybrid, often uneasy, feel like they’ve been pulled straight from the gut. There’s no polish here, no attempt to smooth things over. Instead, Benoit leans into the rawness: the awkward limbs, the tangled expressions, the sense that something is trying to make itself understood.
There’s something of Ralph Steadman in the energy, ink that feels flung rather than placed and forms that resist containment. But where Steadman’s chaos is often satirical, Benoit’s is quieter, more internal. His experience of autism shapes the way he sees and communicates. Rather than working through conventional language, Benoit builds a visual vocabulary that’s entirely his own. The drawings don’t explain themselves. They don’t need to. They speak in gesture, in texture, in the space between control and release. There’s a quiet dignity to the work. It simply exists—honest, unresolved, and full of life.
The Royal Photographic Society – Analogue Group
The Royal Photographic Society – Analogue 10
The Photography Gallery
18th April – 21st June 2026
Preview 8th April 12-2pm. All Welcome.
The Analogue Special Interest Group of the Royal Photographic Society is one of the fastest growing parts of the RPS and the largest formal group dedicated to analogue (film, darkroom and alternative processes) in the UK. This exhibition shows this dynamic group’s work and showcases the qualities of traditional photography techniques that many photographers are now either returning to from digital or discovering for the first time.
Analogue photography is thriving in 2026. More than 2 decades ago the digital camera became a ubiquitous artifact, and predictions were made that “traditional” photography would simply disappear. In fact, during those 20 or so years analogue photography has evolved into a separate art form, where “seeing the image” isn’t enough, the photographer also must “see the way” of producing that image.
In this exhibition we see the work of some of the best practitioners of analogue photography, not only traditional silver gelatin prints but also cyanotypes, wet plate images, intaglio, kallitypes and salt prints, lith prints and the more accessible hybrid (film to digital) images. We see the work of photographers who have recently discovered analogue techniques as well as those of us who remained faithful to our art.
For anyone wanting to see first-hand and understand the attraction of analogue processes then this exhibition is a must for them, but also of great interest to other photographers and the general public.
To miss-quote Mark Twain: “Rumours of the death of analogue photography have been greatly exaggerated”.