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Viewing Rachel Rossin: The Totalists at Albion Jeune

The Wick Culture - Rachel Rossin, Monolith, 2025. Image courtesy of the artist and Albion Jeune

Above Rachel Rossin, Monolith, 2025. Image courtesy of the artist and Albion Jeune

The Wick Culture - Rachel Rossin, Brazen Head, 2025. Image courtesy of the artist and Albion Jeune

Above Rachel Rossin, Brazen Head, 2025. Image courtesy of the artist and Albion Jeune

The Wick Culture - Rachel Rossin, Telos, 2025. Image courtesy of the artist and Albion Jeune

Above Rachel Rossin, Telos, 2025. Image courtesy of the artist and Albion Jeune

Above Rachel Rossin, Monolith, 2025. Image courtesy of the artist and Albion Jeune

Above Rachel Rossin, Brazen Head, 2025. Image courtesy of the artist and Albion Jeune

Above Rachel Rossin, Telos, 2025. Image courtesy of the artist and Albion Jeune

Rachel Rossin: The Totalists

Albion Jeune
24 April – 1 June 2025

A final unmissable solo show for The Wick is Rachel Rossin, an exciting young American artist based in New York who has engineered and programmed AI software to make paintings and installations, showing at Albion Jeune until June.

Rossin’s The Totalists is a fascinating confrontation with technology and tradition, between the organic and the synthetic, and what these things might mean both for painting and for humans more widely. Thinking about the ‘black box’, for example – a system whose internal workings are unknown to the user – has influenced several pieces in the show, attempts to visual the invisible structures that record and shape our existence.

There are references to VR, AI-generated patterns and traditional painting techniques, and Rossin also layers paint to emulate glitch effects and screen artifacts, while her chosen hues often remind us of the eerie glow of screens. It’s a thought-provoking exploration of what it means to create, and to resist, in the AI-era. “Art is one of the only places that isn’t asking you for your data—it’s asking you to think for yourself,” Rossin reflects.

Viewing Gabriel Moses: Selah at 180 Studios

The Wick Culture - Selah, 2025, Gabriel Moses. Image courtesy of 180 Studios

Above Selah, 2025, Gabriel Moses. Image courtesy of 180 Studios

The Wick Culture - Remy, 2024, Gabriel Moses. Image courtesy of 180 Studios

Above Remy, 2024, Gabriel Moses. Image courtesy of 180 Studios

The Wick Culture - Chloe, 2024, Gabriel Moses. Image courtesy of 180 Studios

Above Chloe, 2024, Gabriel Moses. Image courtesy of 180 Studios

Above Selah, 2025, Gabriel Moses. Image courtesy of 180 Studios

Above Remy, 2024, Gabriel Moses. Image courtesy of 180 Studios

Above Chloe, 2024, Gabriel Moses. Image courtesy of 180 Studios

Gabriel Moses: Selah

180 The Strand
28 March – 27 July 2025

Step into the prismatic world of Gabriel Moses, as 180 The Strand is transformed with two floors of more than seventy photographs and ten films (including a brand new work, The Last Hour) by the 26-year-old South London-born artist whose work honours his British-Nigerian heritage in a myriad dazzling ways.

Moses’ rich and varied career has spanned fashion, music and sport, as well as short films and music videos – for the likes of Travis Scott and Playboi Carti, and Schoolboy Q. He has shot for Louis Vuitton, Burberry and Dior, and has photographed Little Simz, Sketpa and Alek Wek, to name only a few. His inimitable, signature style combines deep, lustrous hues, minimal details and an otherworldly edge, impossible to recreate without Moses’ visionary touch.

It’s hard to believe Moses is still only at the start of his career (he started making photographs just five years ago, in 2020) and this is his first major solo exhibition – his images already transcend time and carve a space for so many possibilities and voices in the future. As the artist once told Dazed: “I imagine things in my head and find a way to make it happen”.

Viewing Chantal Joffe: The Dog’s Birthday at Skarstedt Paris

The Wick Culture - Me and Esme in a Korean Restaurant, 2024, Chantal Joffe. © Chantal Joffe, courtesy of the artist and Victoria Miro. Photos by Jack Hems.

Above Me and Esme in a Korean Restaurant, 2024, Chantal Joffe. © Chantal Joffe, courtesy of the artist and Victoria Miro. Photos by Jack Hems.

The Wick Culture - Reading in Bed, 2025, Chantal Joffe. © Chantal Joffe, courtesy of the artist and Victoria Miro. Photos by Jack Hems.

Above Reading in Bed, 2025, Chantal Joffe. © Chantal Joffe, courtesy of the artist and Victoria Miro. Photos by Jack Hems.

The Wick Culture - Richard in the Bath, 2024, Chantal Joffe. © Chantal Joffe, courtesy of the artist and Victoria Miro. Photos by Jack Hems.

Above Richard in the Bath, 2024, Chantal Joffe. © Chantal Joffe, courtesy of the artist and Victoria Miro. Photos by Jack Hems.

Above Me and Esme in a Korean Restaurant, 2024, Chantal Joffe. © Chantal Joffe, courtesy of the artist and Victoria Miro. Photos by Jack Hems.

Above Reading in Bed, 2025, Chantal Joffe. © Chantal Joffe, courtesy of the artist and Victoria Miro. Photos by Jack Hems.

Above Richard in the Bath, 2024, Chantal Joffe. © Chantal Joffe, courtesy of the artist and Victoria Miro. Photos by Jack Hems.

Chantal Joffe: The Dog’s Birthday

Skarstedt Paris
April 3 – May 31 2025

British painter Chantal Joffe – a recent Monday Muse at The Wick – has a new solo exhibition at Skarstedt’s Paris gallery, running to May 31. The Dog’s Birthday sees Joffe’s work return to the French capital for the first time since 2001, paintings concerned with domestic duties and the passage of time.

“I made this show,” Joffe has said, “thinking about Paris – about Vuillard in particular and how he painted in apartments his family lived in, and how the family dramas play out against the changing wallpaper and the newspaper reading of the everyday – and how for him colour is tone and tone is everything.’

As well as formal concerns, there is also mourning, grief and a sense of grappling with time in these paintings, that psychological pull that often underscores Joffe’s portraits and self-portraits – several of the latter are also included here. It is an exhibition that gets at the very meaning of painting itself, and its complex relationship with memory and mortality.