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Viewing Light is Therefore Colour at Turner’s House

The Wick Culture - Eileen Cooper, The Shadow on the Stair, 2025 Oil on Canvas 76 x 61 cm 29 7/8 x 24 in

Above Eileen Cooper, The Shadow on the Stair, 2025 Oil on Canvas 76 x 61 cm 29 7/8 x 24 in

The Wick Culture - Sinta Tantra The Sun is God , 2025 Tempera and 24ct gold leaf mounted onto wood panel 100 x 100 cm 39 3/8 x 39 3/8 in

Above Sinta Tantra The Sun is God , 2025 Tempera and 24ct gold leaf mounted onto wood panel 100 x 100 cm 39 3/8 x 39 3/8 in

The Wick Culture - Eileen Cooper, River, 2025 Oil on canvas 91 x 76 cm 35 7/8 x 29 7/8 in

Above Eileen Cooper, River, 2025 Oil on canvas 91 x 76 cm 35 7/8 x 29 7/8 in

The Wick Culture - Sinta Tantra
Aether Glow, 2025
Tempera and 24ct gold leaf on linen 24 x 18 cm
9 1/2 x 7 1/8 in

Above Sinta Tantra Aether Glow, 2025 Tempera and 24ct gold leaf on linen 24 x 18 cm 9 1/2 x 7 1/8 in

Above Eileen Cooper, The Shadow on the Stair, 2025 Oil on Canvas 76 x 61 cm 29 7/8 x 24 in

Above Sinta Tantra The Sun is God , 2025 Tempera and 24ct gold leaf mounted onto wood panel 100 x 100 cm 39 3/8 x 39 3/8 in

Above Eileen Cooper, River, 2025 Oil on canvas 91 x 76 cm 35 7/8 x 29 7/8 in

Above Sinta Tantra Aether Glow, 2025 Tempera and 24ct gold leaf on linen 24 x 18 cm 9 1/2 x 7 1/8 in

Light is Therefore Colour

Turner’s House
4 June – 26 October, 2025

While giving a lecture at the Royal Academy in 1818, J.M.W Turner proclaimed that ‘light is therefore colour’ – reflecting his fundamental, core belief that colour and light are inextricably linked; something he showed endlessly in his paintings. The line was so striking that it became emblematic of ideas of the time – and it is now inscribed in our daily life, featured on the British £20 note.

At Turner’s House in Twickenham, artists Turner’s House Eileen Cooper RA and Sinta Tantra pick up on this famous conceit of Turner’s, by responding to the late artist’s home, previously known as Sandycombe Lodge – designed by Turner and completed in 1813 as a country retreat where he could create away from the bustle of the city, and intended as a home for his father.

In site specific installation of works – paintings, installations and interventions into the architecture. Together they reimagine what life was like for Turner there, and conjure new ways of relating to his ideas. “This house holds both light and memory—my work aims to create a conversation with its architecture, using abstraction and surface to reflect Turner’s spirit,” Tantra says.

Viewing Wolfgang Tillmans: Nothing could have prepared us at Centre Pompidou

The Wick Culture - Echo Beach, 2017 Courtesy Galerie Buchholz, Galerie Chantal Crousel, Paris, Maureen Paley, London, David Zwirner, New York

Above Echo Beach, 2017 Courtesy Galerie Buchholz, Galerie Chantal Crousel, Paris, Maureen Paley, London, David Zwirner, New York

The Wick Culture - its only love give it away, 2005 Courtesy Galerie Buchholz, Galerie Chantal Crousel, Paris, Maureen Paley, London, David Zwirner, New York

Above its only love give it away, 2005 Courtesy Galerie Buchholz, Galerie Chantal Crousel, Paris, Maureen Paley, London, David Zwirner, New York

The Wick Culture - Moon in Earthlight, 2015 Courtesy Galerie Buchholz, Galerie Chantal Crousel, Paris, Maureen Paley, London, David Zwirner, New York

Above Moon in Earthlight, 2015 Courtesy Galerie Buchholz, Galerie Chantal Crousel, Paris, Maureen Paley, London, David Zwirner, New York

The Wick Culture - Wolfgang Tillmans. Courtesy Jens Ziehe

Above Wolfgang Tillmans. Courtesy Jens Ziehe

Above Echo Beach, 2017 Courtesy Galerie Buchholz, Galerie Chantal Crousel, Paris, Maureen Paley, London, David Zwirner, New York

Above its only love give it away, 2005 Courtesy Galerie Buchholz, Galerie Chantal Crousel, Paris, Maureen Paley, London, David Zwirner, New York

Above Moon in Earthlight, 2015 Courtesy Galerie Buchholz, Galerie Chantal Crousel, Paris, Maureen Paley, London, David Zwirner, New York

Above Wolfgang Tillmans. Courtesy Jens Ziehe

Wolfgang Tillmans: Nothing could have prepared us

Centre Pompidou
13 June – 22 September, 2025

Worth hopping on the Eurostar for is this unmissable blockbuster of a show – the final exhibition at the current Centre Pompidou before it closes its doors for a major renovation in September – it is due to re-open to the public in 2030. The programme for this chapter of the experimental, innovative arts hub in French capital goes out with a memorable bang with a huge, 6,000 metre square show of Wolfgang Tillmans.

Conceived as an installation and curatorial experiment, Tillmans forges a conversation between his work and the now empty library space on level two, probing at the way knowledge is held – and by whom. The show ‘Nothing could have prepared us – everything could have prepared us’ extends as a kind of retrospective, spanning more than thirty-five years of work, following on from Tillmans’ acclaimed retrospectives at Tate Modern in 2017 and at MoMA in 2022. This is the first show of this scale in Paris since 2002, when Tillmans showed at the Palais de Tokyo.

As the show’s title suggests, the works abounds in contrasts and contradictions, something Tillmans has always revelled in, moving in close and working from a distance, creating constellations that pit the universal and the epic against the intimate and personal. The exhibition also moves another important issue in Tillmans work along – how we display and digest information in the contemporary age, and who benefits from it.

Viewing The Moon’s Daughter is a Pearl at Gallery Fumi

The Wick Culture - Emma Witter, Your Skull Is The Garden, 2025, Found Object, Brass Wire, Chicken Feet Bone, Pig's Teeth. Copyright The Artist and courtesy of Gallery FUMI

Above Emma Witter, Your Skull Is The Garden, 2025, Found Object, Brass Wire, Chicken Feet Bone, Pig’s Teeth. Copyright The Artist and courtesy of Gallery FUMI

The Wick Culture - Emma Witter, The Only Genuine Promise, 2024, Wood, Chicken Feet Bones. Copyright The Artist and courtesy of Gallery FUMI

Above Emma Witter, The Only Genuine Promise, 2024, Wood, Chicken Feet Bones. Copyright The Artist and courtesy of Gallery FUMI

The Wick Culture - Emma Witter, Scales, 2025, Sea Snail Shells, Brass Link Chain, Electroformed Copper, Baroque Pearls. Copyright The Artist and courtesy of Gallery FUMI

Above Emma Witter, Scales, 2025, Sea Snail Shells, Brass Link Chain, Electroformed Copper, Baroque Pearls. Copyright The Artist and courtesy of Gallery FUMI

The Wick Culture - Emma Witter, Ode to Venus, 2025, Giant Oyster Shells, Electroformed Copper, Metallic Pigment, Crystal Resin. Copyright The Artist and courtesy of Gallery FUMI

Above Emma Witter, Ode to Venus, 2025, Giant Oyster Shells, Electroformed Copper, Metallic Pigment, Crystal Resin. Copyright The Artist and courtesy of Gallery FUMI

The Wick Culture - Emma Witter, Ocean Mirror III, 2025, Vintage Mirror Frame, Copper Wire, Oyster Shells, Electroformed Copper, Pearlescent Paint, Crystal Resin. Copyright The Artist and courtesy of Gallery FUMI

Above Emma Witter, Ocean Mirror III, 2025, Vintage Mirror Frame, Copper Wire, Oyster Shells, Electroformed Copper, Pearlescent Paint, Crystal Resin. Copyright The Artist and courtesy of Gallery FUMI

The Wick Culture - Emma Witter, Mermaid Châtelaine, 2025. Copyright of The Artist and courtesy of Gallery FUMI

Above Emma Witter, Mermaid Châtelaine, 2025. Copyright of The Artist and courtesy of Gallery FUMI

Above Emma Witter, Your Skull Is The Garden, 2025, Found Object, Brass Wire, Chicken Feet Bone, Pig’s Teeth. Copyright The Artist and courtesy of Gallery FUMI

Above Emma Witter, The Only Genuine Promise, 2024, Wood, Chicken Feet Bones. Copyright The Artist and courtesy of Gallery FUMI

Above Emma Witter, Scales, 2025, Sea Snail Shells, Brass Link Chain, Electroformed Copper, Baroque Pearls. Copyright The Artist and courtesy of Gallery FUMI

Above Emma Witter, Ode to Venus, 2025, Giant Oyster Shells, Electroformed Copper, Metallic Pigment, Crystal Resin. Copyright The Artist and courtesy of Gallery FUMI

Above Emma Witter, Ocean Mirror III, 2025, Vintage Mirror Frame, Copper Wire, Oyster Shells, Electroformed Copper, Pearlescent Paint, Crystal Resin. Copyright The Artist and courtesy of Gallery FUMI

Above Emma Witter, Mermaid Châtelaine, 2025. Copyright of The Artist and courtesy of Gallery FUMI

The Moon’s Daughter is a Pearl

Gallery Fumi
3 July – 6 September, 2025

Artist Emma Witter “dreams with her hands and works to another time”, working with found materials, from flea markets, waste from market stalls and items salvaged from the banks of the Thames, such as egg shells, bones, oysters, and even pig teeth. With these unusual materials Witter creates her unique sculptures and objects, with their evocative, ethereal presence. They’re reminders that one person’s trash is another’s treasure.

In Witter’s solo exhibition at Gallery Fumi, London, the artist fills the lower ground floor with new, otherworldly works made with natural, humble materials and precious metals. By preserving the found objects in tact in her own reinterpretations, Witter also pays tribute to the craftsmanship that has come before her, the hands of labourers, chefs and artisans who have used these materials in various ways and each add their own layer of history and emotion.

The show’s title is a nod to this too – a line taken from a poem by the British writer and curator Anna Souter, whose writing on art and ecology has been a constant and key influence on Witter.