Latest Exhibitions and Public Installations 2025
Unrest Wheel (Venus Resurrection) 2024, porcelain, wax, pigment. Himalayan Sculpture Park and Garden, Ripon, UK - April - November 2025
PREVIEW OF STUDIO WORK-IN-PROGRESS 2025
Preview of my current work-in-progress in the studio. These works are a fleshing out of my Trancing the Third Millennium project in which my aim is to create both visual and text imaginings of 1000 years in the future. My practice moves between text and textiles as bodies morphic and alien. Metal and clay are also strong features in my materials, particularly lead and porcelain. Central to my practice is the interrogation of agency and trust—trust in the material, in the body, and in the extended consciousness as a creative force. Somatic rituals initiate my projects, embracing altered states of consciousness such as hypnagogia and lucid dreaming. These states enable me to access spaces where the boundaries between the rational and the intuitive blur, opening possibilities for speculative futures.
My practice intersects mysticism, emergent materiality, and speculative futures and I approach the body as a multi-dimensional trans-material portal. Also an experimental writer and my site-specific text installations employ methods of engraving and kickwriting (Kerouac) to channel narrative continuums that floats between divination and fiction. My current installations are meditations on the astrological chart of the dawning of the Third Millennium on 01.01.3000 AD and ancient female oracle figures such as Sibyl, Pythia the Furies and timeless Venus. Within my text practice I have two projects, the The Third Millennium and Venus Manifesto.
My practice intersects mysticism, emergent materiality, and speculative futures and I approach the body as a multi-dimensional trans-material portal. Also an experimental writer and my site-specific text installations employ methods of engraving and kickwriting (Kerouac) to channel narrative continuums that floats between divination and fiction. My current installations are meditations on the astrological chart of the dawning of the Third Millennium on 01.01.3000 AD and ancient female oracle figures such as Sibyl, Pythia the Furies and timeless Venus. Within my text practice I have two projects, the The Third Millennium and Venus Manifesto.
VENUS INCONJUNCT MOON (2025)
Venus Inconjunct Moon (2025), cotton, wool, thread, gloves, socks, chair (interchangeable)
This is the first of an expansive series of figures leading to a New Venus Army marching against patriarchal conflict and for humane collective cohabitation of the planet and beyond. She is protean, emerging, a formed thing leaving room for agency in becoming. Each figure is unique, hand sewn, more a taxidermy than tapestry, designed to lay, sit, stand and possible one day walk and dance. The materials are natural though I can't vouch for organic. The chair is interchangeable with other elements. She also speaks to fear. as the tension of misalignment, the space between knowing and unknowing, the gap where identity fractures and reforms. The inconjunct (an astrological aspect of dissonance) manifests in the body as unresolved motion, a topography of scars that mark the instability of selfhood. Venus Inconjunct Moon encapsulates this tension: the shifting tides of Luna pitted against Venusian longing, the patriarchal gaze naming instability as madness. Fear, here, is both internal and imposed, the dread of being seen as fractured and the terror of never fully aligning with oneself. The body becomes a landscape of adjustment, forced to navigate the plane of the inconjunct, where balance is elusive. The figure exists in perpetual motion, the breath itself an act of defiance against stasis. This geometry of fear does not seek resolution; instead, it embodies the courage to remain within disconnection, to move despite the dissonance, to inhabit a space where fear is not paralysis but propulsion.
SIBYLS PORTRAITS (2025)
Part of my SYBL project, this artwork shows the malleability of marble when crushed to dust and supported by the lightest of woven material. Functioning like a permeable skin the surface and content fuse as both expanding and contracting matter, rather like the holding of the breath in filling to the max the lungs. The intestinal composition of the work speaks to digestion and the gut as the second (if not primary) brain, keeping in place our soma-neuro holding patterns and presence continuum. Materials are marble dust, muslin, thread (various positions and sizes).
Starduster I,
marble dust, muslin, thread.
SYBLS, London (2025)
Starduster II, marble dust, muslin, thread. SYBLS, London (2025)
Stardusters, marble dust, muslin, thread. SYBLS, London (2025) MALLEABLE MARBLE
My visual practice is rooted in my philosophy research and writing and seeks to explore the aesthetics and materiality of ignorance as a force shaping the lived experience of suffering and freedom. Influences here show a neuroscience related installation at the Prada Foundation in 2022. I am interested in exploring the many over the multiple.
My aim with this project is to develop a radical aesthetics of ignorance that foregrounds the complex entwinement of embodiment, materiality, and temporality in the human body. Essentially, how does ignorance shape us?
My aim with this project is to develop a radical aesthetics of ignorance that foregrounds the complex entwinement of embodiment, materiality, and temporality in the human body. Essentially, how does ignorance shape us?
Your Head is Older than your Feet... (Carlo Rovelli) I (2025)
Your Head is Older than your Feet...(Carlo Rovelli) II (2025)
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Wall Bricolage (works in progress)
Part of my everyday studio practice involves intuitive wall based works using paint and any materials at hand. Some of the bricolage wall pieces have evolved over 10-months and though I don't yet have a clear sense of narrative sitting with it is creatively generative. That's enough for me.
MILKWOOD (2025) wood, casein paint, emulsion, chalk, oils, cotton stocking, latex, marble dust, cotton, porcelain rubble and steel box frame to be added. 135 x 190 x 40 cm.
POST-HUMAN ARCHIVES: RELIC III: ...and when we sleep we do no harm (2025) installation, steel, porcelain, wire, audio mix of the cones making (see Harmonicones (2023), 135 x 190 x 10 cm.
POST-HUMAN ARCHIVES: RELIC I (2025) Lead, text, glass, wood, dust, 115 cm x 25 cm x 8 cm. Part of the Third Millennium Project.
WE HAVE ALWAYS WALKED II (2025), clay (low fired socks in stone slip), wax, thread, wood, steel, 135 x 190 x 10 cm. (preliminary maquette)
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Meditations
SIT: MEDITATION IS FREE (2025) Perspex, steel, engraved text, raw shorn sheep fleece, thread.
Further SYBL Soft Sculpture
MANEQUINS FOR POST-HUMAN POETS (2025), Triptych, cotton stocking, buckwheat, walnut crystal, cotton thread, wax thread, wood, torsos 80 cm x 51 cm 35 cm (variable).
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WAX MAQUETTES using various waxes and imaginings.
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Exhibitions 2024
PERFORMANCE NOTES from the Exhibition...
DONNA KIM, movement artist, responding to VENUS RESURRECTION by Margot Wilson (ONE EXTENDED MEDITATION, Furies Collective, Copeland Gallery)
Margot Wilson, INCANTATION Performance, Trancing the Third Millennium (ONE EXTENDED MEDITATION, Furies Collective, Copeland Gallery)
ONE EXTENDED MEDITATION: THE FURIES COLLECTIVE, Copeland Gallery, 17th - 20th Oct
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As the debut of FURIES COLLECTIVE’s curatorial trilogy, ONE EXTENDED MEDITATION underlines the affective nature of the ‘impulse’ of creation. Through experimental meditative practices, performance, and theatrical improvisation, we present art as an active force, always in the process of emerging, never static.
The FURIES COLLECTIVE comprises nine female and non-binary artists who each offer different meditations towards their understanding of the creative act. From the politically adjacent installations of Maria Helena Toscano, Suni Mullen, ATHENA Mothership and Elinor Henry; to the existentialist reflections of spatial awareness posed by Amanda Cornish, Lujane Pagganwala and Sara Emil Christova, and the trance based investigations of pre- and post-patriarchal dualism by Margot Wilson, the FURIES’ collective quest is envisioning a non-binary, non-polemic world. This radical and intimate exhibition is brought together through the affective curation of Hannah Dowling, whereby she aims to create a space which carries the potential to engage transformative viewership. The multi-gallery space of Copeland alchemizes into a hub of collaboration; working individually and collectively to orchestrate new ways of being. The poetry of these connections fills each room, reflecting how art can “raise, stir, and excite”, offering the space for introspection. This is an invitation to journey with us through an exploration of THE act, witness how art becomes a space of transformation, and dialogue. Our collective practice invites you, the audience, to be part of ONE EXTENDED MEDITATION. Join us for the live program of evening performances, where external artists will respond to the gallery through improvised actions, further extending this meditation into the realm of performance. Follow us on Instagram @furies.collective for updates on the live programme. Written by Hannah Dowling, edited by Suni Mullen |
REVERBERATIONS: All is Joy Studios, Dean St, London - 10th - 12th October, 2024
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Exhibiting my Pepper's Ghost and black box video installations at this upcoming exhibition in Soho.
'All Is Joy speaks to film’s history and Warner Brother’s De Lane’s Soho production and film screening, placing the past into the present. We will present interdisciplinary artists and programs, to readdress this representation. These works present film media’s diversity from narratives to animation, digital sonic projections, to installations that engage the viewers’ sensorium. All allude to personal and communal histories, human relations, the gaze, the fragmentary and self-other connectiveness. Random Headache’s films ground this theme, for they discourse human and nonhuman connection and dystopic disconnection – unravelling human relations’ tenuousness and identity’s entanglement. In the main theatre, Random Headache’s curated film selection screen scripted narratives about interpersonal relationships with each other and urban environments. Short film animations convey human and nonhuman imaginaries – longings for affordable housing and potential cyborg AI futures. The three longer films’ theatrical documentary tone, contrast sharply with the animation shorts, highlighting films’ experiential expressive diversity. In the upstairs cinema, digitally mastered imagery and soundscapes reverberate memory, history and identity’s fragmentary nature, in ever-shifting montaged collages. Meanwhile, the exhibition spaces display art works ranging from digital art-based films, photography and sculpture, referencing the female gaze, as well as filmic performance works conferring film history and metaphysics. A live performance and DJ will perform adjacent to the upstairs bar, after the film screenings. During the exhibition we will have short films by Random Headache that will be screened in the cinema room, which will be the only room in the exhibition space that will require tickets to enter. ' Curated by: Yu Ying Chan (@yuying720) Ismini Chimona (@isminich) Beverley Harrison Soyeon Jung (@cantbuymel.ove) |
INTO THE FLUX, International Body of Art, Livesey Exchange, SE15 1QP
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Next showing of my Venuses and trance typing is in group exhibition, Into the Flux, organised by International Body of Art, and curated by April Kelly and Maria Artool from 5th October - 12th October, 2024. The space is an abandoned underground car park soon to be demolished. Into the Flux is its final event, a kind of closing ceremony or quasi wake.
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Acting as the final installment in our three-part investigation into temporality, this exhibition aims to look into the future in all its messy, unpredictable, and flimsy reality. |
graphic design by Maria Helena Toscano (c) 2024
One Extended Meditation @ Copeland Park Gallery, Peckham, London
COPELAND GALLERY, Peckham, London. Photo Margot Wilson
ONE EXTENDED MEDITATION
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A word does not start as a word – it is an end product which begins as an impulse,
stimulated by attitude and behaviour which dictates the need for expression […] for the actor the word is a small visible portion of a gigantic unseen formation (Peter Brook). The creative process of art is an act which relates to the intermediary process executed by the artist, by which the intangible is made tangible, with the concretisation of an art form, or in Peter Brook’s case, a word. Whilst an art form signifies a final, albeit temporal product, it is the culmination of a process which constitutes ‘a gigantic unseen formation’. This unseen formation is the creative act which necessitates the verbum dei caro factum est (the word was made flesh). |
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Hannah Dowling
https://www.hannahdowling.com/ https://www.instagram.com/hannah__dowling/ Athena Mothership https://www.instagram.com/athenamothership/ Amanda Cornish https://www.amandacornishstudio.com/ https://www.instagram.com/amandacornishstudio/ Suni Mullen https://www.sunimullen.studio/ https://www.instagram.com/sunimullen/ |
Margot Wilson
www.margotwilson.com https://www.instagram.com/margot_wilson_art/ Sara Christova https://www.sarachristova.com/ https://www.instagram.com/chromosapiens/ Maria Helena Toscano https://havesomedignity.cargo.site/ https://www.instagram.com/m.h.toscano/ Eleanor Henry https://www.elinorhenry.com/ https://www.instagram.com/elinor.henry/ |
The Furies Collective |
NOW AND THEN, VAS 100th Anniversary Exhibition @ Dalkeith Palace, Edinburgh
Venus Resurrection (2024), porcelain, wax, pigment. 700 of 2,024 maquette floor installation
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Installing 700 Venus maquettes onto antique floor boards proved challenging as the building, room, and floor continuously flexed. The motion so subtle destablised many of the Venuses, confirming the essential 'movement' aspect of her meaning. The planet Venus 'wanders' the skies. This is the meaning of 'planet'. Everything wanders. Sitting with the installation for a while, listening to readily identifiable clinking of porcelain, I wondered about the presence of ghosts. In the words of Isabelle Stengers 'a ghost is not always lacking in power, however. In some cultures its appearance forces its members to think, connect, act.' As the Venuses fell people compared it to the fall of Rome and one area of circular collapse, as akin to a crop circle formation. Something strange was certainly afoot in this 313 year old palace. The exhibition runs from 16th-24th August. Next outing for the Venuses is the full compliment of 2,024 porcelain maquettes installed in Copeland Gallery 16th - 20th October.
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"Date: 08/05/2024 Visual Arts Scotland - 'Now and Then: Dalkeith Palace Exhibition: We’re excited to announce part two of Visual Arts Scotland's Centenary Exhibition taking place in Dalkeith Palace this August 2024. This follows our 4 star annual exhibition Then and Now that took place at Edinburgh’s RSA earlier this year and continues our celebration of 100 Years of Visual Arts Scotland." |
After Judy: Campervan Collective @ Hyde Park, London
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Predictive Text #1 (2024) is an automatic writing installation of 20 m of tracing paper typed and installed in Wilson’s 1991 Campervan in various locations starting with outside the Judy Chicago exhibition at the Serpentine Gallery. Predictive Text is typed on multiple 20 m continuous rolls of A3 on a modified 1976 wide carriage smith Corona Electric Typewriter, this installation expands Wilson’s exploration of fiction and astrology combining analysis and channelling in an immersive performance of action typing. Predictive Text #2 is a 1 km scroll and the narrative responds to the dawn of the Third Millennium at 00:00:01, on 01.01.3000 on Kiribati Island, Micronesia Region, Central Pacific Ocean.
The Campervan Collective was set up by Frankie Fathers. |
OCCULT: SURGE, EXCHANGE GALLERY, SHOREDITCH, LONDON
𝐋𝐀𝐔𝐍𝐂𝐇𝐈𝐍𝐆：𝑶𝑪𝑪𝑼𝑳𝑻 𝑺𝑼𝑹𝑮𝑬
Opening：18:00PM-22:00PM 23/05/2024
Suddenly an eruption becomes manifest, like a surge for the outside.
With this surge something is broken open, firstly as the succession of time and then within the composition of things. The Ancient Greeks called this temporal condition ‘kairos’ which is nothing other than the rupture of time that opens out the vectors of what came before and what will follow. This breaking open is nothing but the reorganisation of the vectors of space and time that enable the folds within the registers within the pattern of becoming to be reassembled. Thus, predictability is cast aside, habit thrown into disarray, and what is below and above are cast under a new spell in which lines and forces find relations of the elsewhere.
What is magic if not this momentary casting aside of habitual perception? Aesthetic perception is the passage afforded to that glimpse of the outside that defies the rule of representation. Elevations, intensities, raptures, accords, are but the cover for the release of still greater forces that accrue beyond representation and the otherwise of this is revealed in the algorithmic order which dictates patterns of control and prediction.
Opening：18:00PM-22:00PM 23/05/2024
Suddenly an eruption becomes manifest, like a surge for the outside.
With this surge something is broken open, firstly as the succession of time and then within the composition of things. The Ancient Greeks called this temporal condition ‘kairos’ which is nothing other than the rupture of time that opens out the vectors of what came before and what will follow. This breaking open is nothing but the reorganisation of the vectors of space and time that enable the folds within the registers within the pattern of becoming to be reassembled. Thus, predictability is cast aside, habit thrown into disarray, and what is below and above are cast under a new spell in which lines and forces find relations of the elsewhere.
What is magic if not this momentary casting aside of habitual perception? Aesthetic perception is the passage afforded to that glimpse of the outside that defies the rule of representation. Elevations, intensities, raptures, accords, are but the cover for the release of still greater forces that accrue beyond representation and the otherwise of this is revealed in the algorithmic order which dictates patterns of control and prediction.
TATE LATES @ TATE MODERN, LONDON
“Now in its fourth year, the annual CAP Festival is an incredibly exciting and important moment in the CAP calendar. At its heart, the Festival is a student-driven project with multiple tentacles, each year responding to live opportunities and reflecting the interests, stories, conversations and ambitions of artists within the CAP community. CAP students work collaboratively across a multitude of platforms, linking with external partners to not only showcase their work, but also develop ideas and practice together with a public audience, and this year a very large one with over 10,000 visitors taking part in the Tate Modern Lates event.” RCA WEBSITE
Out of Reach: The Enigma of Consciousness @ Art in the Docks, Royal Docks
Art in the Docks Gallery, Royal Docks, London. Photo James Merrell
Out of Reach: The Enigma of Consciousness’
11- 20 April 2024
An exhibition where art serves as a portal to the intricate realms of the mind. Within the recesses of our minds, memory and subconsciousness often appear as strangers, elusive and enigmatic. This showcase offers a captivating exploration of memory and the subconscious, inviting viewers to contemplate the essence of being. Through a blend of artistic expression, each piece becomes a mirror reflecting the complexities of human consciousness. As we traverse the landscapes of perception, unravelling the mysteries that lie beyond the surface of reality, visitors are invited to experience the transformative power of creativity illuminating the essence of existence.
The exhibition is curated by @isminich and @yuyin
The exhibition is promoted by @artinthedocks
With the support of @notting_hill_genesis
11- 20 April 2024
An exhibition where art serves as a portal to the intricate realms of the mind. Within the recesses of our minds, memory and subconsciousness often appear as strangers, elusive and enigmatic. This showcase offers a captivating exploration of memory and the subconscious, inviting viewers to contemplate the essence of being. Through a blend of artistic expression, each piece becomes a mirror reflecting the complexities of human consciousness. As we traverse the landscapes of perception, unravelling the mysteries that lie beyond the surface of reality, visitors are invited to experience the transformative power of creativity illuminating the essence of existence.
The exhibition is curated by @isminich and @yuyin
The exhibition is promoted by @artinthedocks
With the support of @notting_hill_genesis
POSTGRADUATE EXHIBITION 2024 @ THE ROYAL COLLEGE OF ART, LONDON
Choreography for Breath in the 6th Dimension (2024)
Portals #1: Choreography for Breath in the 6th Dimension Margot Wilson camera James Merrell
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Preferring analogue with minimal digital methodologies Teleportals I experiment with the device of Pepper’s Ghost (invented by J.H. Pepper, 1891), a stage trick and method of light diffraction that creates the illusion of a floating spectre. Three dancing versions of herself appear like holograms inside glass domes, synchronously appearing, disappearing and exchanging domes. The installation explores themes of material belonging as presence, absence and in- betweenness, proposing the breath as possibly the only tangible continuum. |
Portals #2: Third Eye Happenings and Other Hypnogogia or/ Midnight Show at the Prisoner's Cinema. Photo James Merrell
We Have Always Walked (Spring Equinox 2024 Ritual) @ Tynemouth, NEWCASTLE, UK
Breath Quartet: Spring Equinox 2024, Gateshead. UK Margot Wilson, Patrick Ziza, Marcus Herne, camera & photo James Merrell
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‘WE HAVE ALWAYS WALKED’ is Breath Quartet’s third collaboration celebrating the season change and performing an improvised ritual for our common ancestors. This project is a special one, speaking directly to all the world’s wanderers, pilgrims, uprooted and displaced souls, searchers, explorers, the curious, the lost, the broken, the found, the confused, those grieving, those weeping, those singing, those praying, those speaking, sharing, laughing, teaching, learning, passing on wisdom, exchanging gifts, cooking, eating, sleeping, sheltering, healing, leading, following, holding hands, holding each other, loving each other, loving, breathing, breathing, loving, smiling, hearing each other, heading towards and from the horizon, heading towards and from the sea, sharing a common ancestral thread, sharing common ancestors, hearing them whisper with every step ‘we have always walked, we have always walked….we have always walked….’ This ritual project was in collaboration with Patrick Ziza (movement), Marcus Herne (sound), and James Merrell (filming). @margot_wilson_art @patrickziza @jamesmerrellphotography & marcusherne.com @breathquartet. Breath Quartet @ Long Sands Beach, Tynemouth, North Shields on 20th March 2024: Spring Equinox Sunrise: 06:06 am. |
BREATH QUARTET. WINTER SOLSTICE @ SAFE HOUSE, PECKHAM, LONDON
Full 4-hour version of Breath Quartet's extended Winter Solstice improvised performance at Safe House #1, Peckham, London on 21st January 2024. Unrehearsed and our first time performing as a collective, our aim was vibrationally and sonically 'find each other'. Unable to see each other for most of the performance each artist had to emerge through chaos of breath, voice, bird song, bells, drums, thunder gong and incense, fold on fold rising in cacophonous waves.
breath margot wilson. movement patrick ziza. sound marcus herne & haedong lee. olfactory yidan kim. camera james merrell.
For bios see our Instagram and Websites.
BREATH QUARTET
@margot_wilson_art
@patrickziza
@haedonglee
@yidan_kim
marcusherne.com
jamesmerrell.co.uk
breath margot wilson. movement patrick ziza. sound marcus herne & haedong lee. olfactory yidan kim. camera james merrell.
For bios see our Instagram and Websites.
BREATH QUARTET
@margot_wilson_art
@patrickziza
@haedonglee
@yidan_kim
marcusherne.com
jamesmerrell.co.uk
Across and Over: RCA/HSBC, Canary Wharf, 2023
HIGHWAY MINDWAY, The Czech Centre, the RCA/UMPRUM, London 2023
