The notion that all new media borrows and is made up of old media – resurfaces in Jamiu Agboke’s practice, albeit sensorially and metaphysically. In his fluid, at times flighty, compositions Agboke seeks to construct a scaffold that links how we negotiate our senses with our ways of perceiving the world around us. Incorporating everything from dream and waking memories, proprioceptive encounters, inherited cultural histories, and experiences born of the digital sphere, his work explores the interconnectedness of all inputs that form subjectivity.

Ecological anxiety belies the work of James Owens, whose moody compositions depict scenes of escape, tragedy, and survival, toggling between hope and doom in which nature ultimately triumphs over man-made disaster.

Like a rejoinder to these weighty yet empty scenes, James Prapaithong captures hazy yet extremely specific moments on canvases whose dimensions mimic the ratios of various screen devices. Like cropped inserts in the film montage of one’s own unstable memory, they are wistful and banal, conjuring a longing for shared experiences and connections.

Devoid of figures altogether, Jill Tate’s meticulous, monochromatic renderings of domestic scenes are laden with psychological charge. Painted from maquettes the artist builds and photographs herself, the non-spaces of See Through and Function Room (both 2023) call to mind the isolation of lockdowns, during which sensorial engagement with the outside world was limited.

Georg Wilson’s practice is grounded in reality, informed by the cyclical change of the seasons and concepts of deep time. However, her paintings conjure strange stories, intertwining layers of England’s landscape, folklore, history, and customs to create new fantastical narratives, totems and icons and even sensations for what some might describe as spiritually bereft times.