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Viewing Suzanne Blank Redstone: Catching Light at CLOSE Gallery

The Wick Culture - Suzanne Blank Redstone, Lifelines (PASSING THROUGH-JACK'S LIFE), 2017, Powdercoated aluminium on painted tricoya, 183 x 122 x 17cm. Image courtesy of the artist and CLOSE
gallery.

Above Suzanne Blank Redstone, Lifelines (PASSING THROUGH-JACK’S LIFE), 2017, Powdercoated aluminium on painted tricoya, 183 x 122 x 17cm. Image courtesy of the artist and CLOSE gallery.

The Wick Culture - Suzanne Blank Redstone, Red Square, 1969, Acrylic on plaster, 29.5 x 30.5 x 5cm. Image courtesy of the artist and CLOSE gallery.

Above Suzanne Blank Redstone, Red Square, 1969, Acrylic on plaster, 29.5 x 30.5 x 5cm. Image courtesy of the artist and CLOSE gallery.

The Wick Culture - Suzanne Blank Redstone, The Core, 2019, Powdercoated aluminium on painted tricoya, 144 x 91 x 17cm. Image courtesy of the artist and CLOSE gallery.

Above Suzanne Blank Redstone, The Core, 2019, Powdercoated aluminium on painted tricoya, 144 x 91 x 17cm. Image courtesy of the artist and CLOSE gallery.

The Wick Culture - Suzanne Blank Redstone, Circles & Lines, 2017, Polished stainless steel and powdercoated aluminium on painted tricoya, 122 x 122 x 20cm. Image courtesy of the artist and CLOSE gallery.

Above Suzanne Blank Redstone, Circles & Lines, 2017, Polished stainless steel and powdercoated aluminium on painted tricoya, 122 x 122 x 20cm. Image courtesy of the artist and CLOSE gallery.

The Wick Culture - Suzanne Blank Redstone, Red & Yellow, 1969, Acrylic on plaster, 29 x 30 x 5cm. Image courtesy of the artist and CLOSE gallery.

Above Suzanne Blank Redstone, Red & Yellow, 1969, Acrylic on plaster, 29 x 30 x 5cm. Image courtesy of the artist and CLOSE gallery.

Above Suzanne Blank Redstone, Lifelines (PASSING THROUGH-JACK’S LIFE), 2017, Powdercoated aluminium on painted tricoya, 183 x 122 x 17cm. Image courtesy of the artist and CLOSE gallery.

Above Suzanne Blank Redstone, Red Square, 1969, Acrylic on plaster, 29.5 x 30.5 x 5cm. Image courtesy of the artist and CLOSE gallery.

Above Suzanne Blank Redstone, The Core, 2019, Powdercoated aluminium on painted tricoya, 144 x 91 x 17cm. Image courtesy of the artist and CLOSE gallery.

Above Suzanne Blank Redstone, Circles & Lines, 2017, Polished stainless steel and powdercoated aluminium on painted tricoya, 122 x 122 x 20cm. Image courtesy of the artist and CLOSE gallery.

Above Suzanne Blank Redstone, Red & Yellow, 1969, Acrylic on plaster, 29 x 30 x 5cm. Image courtesy of the artist and CLOSE gallery.

Suzanne Blank Redstone: Catching Light

CLOSE Gallery
Somerset, TA3 6AE
10 May – 28 June 2025

Head out to the pretty village of Hatch Beauchamp in rural Somerset this weekend for a rare exhibition celebrating the decades-long practice of Suzanne Blank Redstone, an American-born, UK-based artist who has made light her muse.

Continuing their programme bringing attention to overlooked artists and in particular women, CLOSE has organised an in-depth and awe-inspiring look at Redstone’s sixty year career to date (the artist turns 80 this year), from early plaster reliefs to light sculptures, works that explore timeless themes of colour, form and energy.

It’s an exhibition that will also never look quite the same on any two visits, evolving with the environment. As Redstone puts it: “my practice is concerned with interrupting the available light that surrounds us, creating environments that attract, catch and release light to produce a changing visual experience.”

Viewing Encounters: Giacometti x Huma Bhabha at the Barbican Centre

The Wick Culture - Installation view of Giacometti x Huma Bhabha. Image courtesy of Barbican Centre

Above Installation view of Giacometti x Huma Bhabha. Image courtesy of Barbican Centre

The Wick Culture - Alberto GIACOMETTI Trois hommes qui marchent [petit plateau], Three Walking Men [Small Square], 1948. Image courtesy of Fondation Giacometti

Above Alberto GIACOMETTI Trois hommes qui marchent [petit plateau], Three Walking Men [Small Square], 1948. Image courtesy of Fondation Giacometti

The Wick Culture - Huma Bhabha, What Should it Be, 2024. Photo by Kerry McFate. Image courtesy of the artist and David Zwirner Gallery

Above Huma Bhabha, What Should it Be, 2024. Photo by Kerry McFate. Image courtesy of the artist and David Zwirner Gallery

Above Installation view of Giacometti x Huma Bhabha. Image courtesy of Barbican Centre

The Wick Culture - Alberto Giacometti, Femme debout
Standing Woman, 1957. Image courtesy of Fondation Giacometti

Above Alberto Giacometti, Femme debout Standing Woman, 1957. Image courtesy of Fondation Giacometti

The Wick Culture - Huma Bhabha, Feel the Hammer, 2024. Photo by Kerry McFate. Image courtesy of the artist and David Zwirner Gallery

Above Huma Bhabha, Feel the Hammer, 2024. Photo by Kerry McFate. Image courtesy of the artist and David Zwirner Gallery

Above Installation view of Giacometti x Huma Bhabha. Image courtesy of Barbican Centre

Above Alberto GIACOMETTI Trois hommes qui marchent [petit plateau], Three Walking Men [Small Square], 1948. Image courtesy of Fondation Giacometti

Above Huma Bhabha, What Should it Be, 2024. Photo by Kerry McFate. Image courtesy of the artist and David Zwirner Gallery

Above Installation view of Giacometti x Huma Bhabha. Image courtesy of Barbican Centre

Above Alberto Giacometti, Femme debout Standing Woman, 1957. Image courtesy of Fondation Giacometti

Above Huma Bhabha, Feel the Hammer, 2024. Photo by Kerry McFate. Image courtesy of the artist and David Zwirner Gallery

Encounters: Giacometti x Huma Bhabha

Level 2
Barbican Centre
8 May – 10 August 2025

London’s big opening of the week is the first in the exciting new Encounters series, co-organised by the Barbican with the Giacometti Foundation, bringing three contemporary artists into scintillating dialogues with the iconic 20th century sculptor.

Inhabiting a new gallery space on the second floor – once the Barbican’s restaurant, now opened up as an exhibition space for the first time – twelve works by the Pakistani-American artist are displayed with ten pieces by Giacometti, highlighting similarities and differences between the two artists, and creating new tensions and conversations between them.

Bhabha has often cited Giacometti as an inspiration for her own eerie, ominous and enthralling assemblage-type figurative sculptures using found objects. This is the first time she has presented works together with the late Swiss sculptor, and her first exhibition in London since 2016. There is also a chance to see four huge, totemic bronze cast works by Bhabha for free, installed in the foyer between the exhibition space and the library.

Viewing Joanna Allen: Subconscious Playground at Bowman Sculpture

The Wick Culture - Joanna Allen, Inherent, Subconscious Playground. Image courtesy of Bowman Sculpture

Above Joanna Allen, Inherent, Subconscious Playground. Image courtesy of Bowman Sculpture

The Wick Culture - Joanna Allen, Subconscious Playground. Image courtesy of Bowman Sculpture and photography © Sky Sharrock

Above Joanna Allen, Subconscious Playground. Image courtesy of Bowman Sculpture and photography © Sky Sharrock

The Wick Culture - Joanna Allen, Horizon, Subconscious Playground. Image courtesy of Bowman Sculpture

Above Joanna Allen, Horizon, Subconscious Playground. Image courtesy of Bowman Sculpture

The Wick Culture - Joanna Allen, Monument, Subconscious Playground. Image courtesy of Bowman Sculpture

Above Joanna Allen, Monument, Subconscious Playground. Image courtesy of Bowman Sculpture

Above Joanna Allen, Inherent, Subconscious Playground. Image courtesy of Bowman Sculpture

Above Joanna Allen, Horizon, Subconscious Playground. Image courtesy of Bowman Sculpture

Above Joanna Allen, Monument, Subconscious Playground. Image courtesy of Bowman Sculpture

Joanna Allen: Subconscious Playground

Bowman Sculpture
1 – 30 May 2025

Joanna Allen is an emerging sculptor to know: the Dorset-based artist has been working steadily with her own take on Surrealism, with a contemporary perspective that feels fresh. Her latest body of work, on show until the end of the month at Bowman Sculpture, has been four years in the making and feels like a pivotal moment for the artist.

Allen’s series of sculptures for Subconscious Playground begin with psychomorphic drawings Allen makes, sometimes inspired by images that come to mind as she meditates – there is a special space in her studio, she has said, for that purpose. She then collaborates with an atelier in Italy to transform clay and plaster casts into marble and bronze.

As Allen’s title suggests, this solo exhibition is both playful and profound, an experimental and exploratory take on the inner workings of the mind and how they might manifest in the body – moving between figurative and abstract forms in a contemplative and intuitive way.