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Viewing Eileen Perrier: A Thousand Small Stories at Autograph

The Wick Culture - Eileen Perrier, from the series Ghana, 1995-1996. Courtesy the artist and Autograph, London

Above Eileen Perrier, from the series Ghana, 1995-1996. Courtesy the artist and Autograph, London

The Wick Culture - Eileen Perrier, from the series Red, Gold and Green, 1996-1997. Commissioned by Autograph. Courtesy the artist and Autograph, London

Above Eileen Perrier, from the series Red, Gold and Green, 1996-1997. Commissioned by Autograph. Courtesy the artist and Autograph, London

The Wick Culture - Eileen Perrier, from the series Blessing, 2002. Commissioned by The Photographers’ Gallery. Courtesy the artist and Autograph, London

Above Eileen Perrier, from the series Blessing, 2002. Commissioned by The Photographers’ Gallery. Courtesy the artist and Autograph, London

The Wick Culture - Viewing Eileen Perrier: A Thousand Small Stories at Autograph

Above

The Wick Culture - Eileen Perrier, from the series Grace, 2000. Courtesy the artist and Autograph, London

Above Eileen Perrier, from the series Grace, 2000. Courtesy the artist and Autograph, London

Above Eileen Perrier, from the series Ghana, 1995-1996. Courtesy the artist and Autograph, London

The Wick Culture - Eileen Perrier, from the series Afro Hair and Beauty Show, 1998-2003. Courtesy the artist and Autograph, London

Above Eileen Perrier, from the series Afro Hair and Beauty Show, 1998-2003. Courtesy the artist and Autograph, London

Above Eileen Perrier, from the series Ghana, 1995-1996. Courtesy the artist and Autograph, London

Above Eileen Perrier, from the series Red, Gold and Green, 1996-1997. Commissioned by Autograph. Courtesy the artist and Autograph, London

Above Eileen Perrier, from the series Blessing, 2002. Commissioned by The Photographers’ Gallery. Courtesy the artist and Autograph, London

Above Eileen Perrier, from the series Grace, 2000. Courtesy the artist and Autograph, London

Above Eileen Perrier, from the series Ghana, 1995-1996. Courtesy the artist and Autograph, London

Above Eileen Perrier, from the series Afro Hair and Beauty Show, 1998-2003. Courtesy the artist and Autograph, London

Eileen Perrier: A Thousand Small Stories

Autograph
17 April – 13 September 2025

It’s the final weeks of photographer Eileen Perrier’s exhibition at Autograph curated by Bindi Vora and the result of years of research and work. It charts many of Perrier’s major commissions between the 1990s up to a recent project for The Face documenting the experiences of young people as they embark on adulthood.

The exhibition, arranged as a modest retrospective, includes the best of Perrier’s studio photography, often shot in makeshift set ups, reappropriating methods from 19th century European portraiture combined with West African studio photography influences, to commemorate and honour her sitters inner worlds and lives. It also includes the poignant photographs Perrier took on a first visit to Ghana with her mother.

Perrier’s dual Dominican Ghanaian heritage and her London upbringing all play an important part in her approach too, in a persistent sense of ambiguity and empathy for her subjects, her searching for a sense of belonging but not conforming – encouraging us to look beyond dividers of race, class and social status and see beauty everywhere.

Viewing Harmony: Jame St Findlay at Perrotin London

The Wick Culture - Jame St Findlay, Harmony (2025). Courtesy of the artist

Above Jame St Findlay, Harmony (2025). Courtesy of the artist

Harmony: Jame St Findlay

Perrotin London
1 – 28 September 2025

Harmony is a major new commission by young Scottish artist Jame St Findlay, the winner of the £30,000 2024 Claridge’s Royal Academy Schools Art Prize. St Findlay was unanimously selected by judges Ryan Gander RA and Oona Grimes RA.

The exhibition explores the subtle ways systems, services and routines shape our lives and the unease that comes with them. Installed at Perrotin London, the refurbished, expansive gallery space at Claridge’s, are new installations – such as a work incorporating filing boxes, suit jackets and other visual tropes symbolising corporate order. Yet as is often the case in St Findlay’s work, what first appears harmonious and optimised slowly reveals cracks, exposing the psychological toll of productivity, surveillance – the control is all an illusion.

St Findlay’s work has previously been exhibited at Camden Arts Centre, with a recent solo presentation at Gathering, London (2024), but this debut at Perrotin marks their most ambitious commission to date.

Viewing Cecil Beaton’s Garden Party at Garden Museum

The Wick Culture - Cecil Beaton by Cecil Beaton, 1960s © Cecil Beaton Archive, Condé Nast

Above Cecil Beaton by Cecil Beaton, 1960s © Cecil Beaton Archive, Condé Nast

The Wick Culture - Bianca Jagger by Cecil Beaton, 1978 © Cecil Beaton Archive, Condé Nast

Above Bianca Jagger by Cecil Beaton, 1978 © Cecil Beaton Archive, Condé Nast

The Wick Culture - The Cutting Garden, Cecil Beaton c.1960 © National Portrait Gallery, London

Above The Cutting Garden, Cecil Beaton c.1960 © National Portrait Gallery, London

The Wick Culture - Penny Tree at Reddish House by Cecil Beaton, British Vogue December 1970 © Cecil Beaton Archive, Condé Nast

Above Penny Tree at Reddish House by Cecil Beaton, British Vogue December 1970 © Cecil Beaton Archive, Condé Nast

Above Cecil Beaton by Cecil Beaton, 1960s © Cecil Beaton Archive, Condé Nast

Cecil Beaton’s Garden Party

Garden Museum
14 May – 21 Sep 2025

The perfect high summer show for those who want to escape urbanity without leaving the city: Cecil Beaton’s Garden Party at the Garden Museum is a whimsical, wistful tour through the iconic British fashion photographer’s fascination with flowers and gardens.

This exhibition not only spotlights the ways flora and fauna made their way into Beaton’s photographs but the wider role they played in his wider, less known cultural pursuits, showcased in drawings, painted backdrops, set design, sketches for ballet costumes, and floral installations he created for parties – using flowers from his own gardens at Ashcombe House and Reddish House in Wiltshire.

It’s through Beaton’s engagement with his gardens that we might come closer to understanding the vitality of his creative practice, and the colours and compositions he plumped for in his pictures. In an interview with House Beautiful magazine in 1979, Beaton declared: “My garden is the greatest joy of my life, after my friends. Both are worth living for.”