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RITES OF RUINS
22.03.25 - 23.03.25
SAFEHOUSE 01
Time erodes all things—places, memories, identities. Rites of Ruins explores the beauty and fragility of transformation, where decay is not an end but a process of becoming. Through material degradation, shifting narratives, and ephemeral traces, the works in this exhibition examine what is preserved, what fades, and what is reimagined.
Ruins serve as both relics and possibilities, holding the weight of histories while making space for new meanings. They remind us of the instability of personal and collective memory, the tension between permanence and loss.
Here, erosion is a ritual, a rite of passage through which we confront the impermanence of all things—inviting us to reflect on how we shape, and are shaped by, the remnants of the past.
Curated by JJ Hellerman
and Nathalia Bertazi
Yihan Pan
Starry Sky
Digital Prints
Dimensions Variable
2025
My work is an exploration of the ephemeral—of dust, water, and light—materials that exist on the boundary of presence and absence. I seek to capture the imperceptible, to trace the fragile interactions between materiality and time.
Rooted in phenomenology, ecological thought, and material philosophy, my practice examines how seemingly insignificant elements—dust settling on surfaces, water droplets suspended on feathers—hold within them histories, transformations, and the residue of existence. Through photography, text, and installation, I create dialogues between what lingers and what fades.
Digital Prints
Dimensions Variable
2025
My work is an exploration of the ephemeral—of dust, water, and light—materials that exist on the boundary of presence and absence. I seek to capture the imperceptible, to trace the fragile interactions between materiality and time.
Rooted in phenomenology, ecological thought, and material philosophy, my practice examines how seemingly insignificant elements—dust settling on surfaces, water droplets suspended on feathers—hold within them histories, transformations, and the residue of existence. Through photography, text, and installation, I create dialogues between what lingers and what fades.
Meredith Gunderson
Golden Time
190 x 100 x 30 cm
mirrored acrylic, 3D printed glazed porcelain, bronze
2025
Meredith Gunderson is a London based American artist.
Her multidisciplinary practice draws from complexities, voids and limitations within systems and hierarchies of knowledge.
Often extrapolating from catalogued museum and library collections and responding to the sensorial experiences of built environments, Gundersons’ work proposes abstracted, talismanic objects and fragmented narratives open to a range of symbolic readings.
Meredith’s research embedded practice explores how knowledge and experience acquired through the body and through esoteric and spiritual inquiry intersect with more traditional frameworks of understanding.
Working with a range of material including ceramic, silver, bronze, textiles, 3D printing, casting, animation, pastels on silicone, Meredith’s forms and surfaces are a hybrid of bodily, organic and ritualistic with the synthetic, industrial and digital. Her distinctive pale palette and frequent inclusion of layers, transparency and reflection contribute to the phenomenological and ephemeral qualities of her sculptural language.
Gunderson holds a BA in History of Art from the University of Colorado, a BA in Ceramics from Central Saint Martins, University of the Arts London and is a currently undertaking an MA in Sculpture at The Royal College of Art.
b. Buffalo, New York 1976
Lives and works in London
190 x 100 x 30 cm
mirrored acrylic, 3D printed glazed porcelain, bronze
2025
Meredith Gunderson is a London based American artist.
Her multidisciplinary practice draws from complexities, voids and limitations within systems and hierarchies of knowledge.
Often extrapolating from catalogued museum and library collections and responding to the sensorial experiences of built environments, Gundersons’ work proposes abstracted, talismanic objects and fragmented narratives open to a range of symbolic readings.
Meredith’s research embedded practice explores how knowledge and experience acquired through the body and through esoteric and spiritual inquiry intersect with more traditional frameworks of understanding.
Working with a range of material including ceramic, silver, bronze, textiles, 3D printing, casting, animation, pastels on silicone, Meredith’s forms and surfaces are a hybrid of bodily, organic and ritualistic with the synthetic, industrial and digital. Her distinctive pale palette and frequent inclusion of layers, transparency and reflection contribute to the phenomenological and ephemeral qualities of her sculptural language.
Gunderson holds a BA in History of Art from the University of Colorado, a BA in Ceramics from Central Saint Martins, University of the Arts London and is a currently undertaking an MA in Sculpture at The Royal College of Art.
b. Buffalo, New York 1976
Lives and works in London
Elizabeth Roberts
"Becoming Translucent"
50cm x 30cm
Digital Print on Kozo Paper
2025
The making of Becoming Translucent has been a meditation on how time and life events weather and mark the body. I’m interested in the female head as a site for exploring the costs of aging for women due to the gradual loss of youth and beauty which leads to decreased visibility in social and political spheres. I find solace in the aging process however, because as human skin thins with age our hidden layers become more illuminated and exposed, hinting at embodied secrets and events, loved or lost places, and hopefully, stories of passion. I have been inspired by sculptor Camille Claudel’s respect for the aging female body in works such as Old Helene (1882).
Working digitally allowed me to synthesize my original materials such as ink and oil paint which didn’t sit easily together and caused surface tension in the facial features of my portrait. After printing on Kozo paper, the back side of the image was slowly worn away by hand, in the same way that time erodes all things. Just the image is left, suspended in medium.
50cm x 30cm
Digital Print on Kozo Paper
2025
The making of Becoming Translucent has been a meditation on how time and life events weather and mark the body. I’m interested in the female head as a site for exploring the costs of aging for women due to the gradual loss of youth and beauty which leads to decreased visibility in social and political spheres. I find solace in the aging process however, because as human skin thins with age our hidden layers become more illuminated and exposed, hinting at embodied secrets and events, loved or lost places, and hopefully, stories of passion. I have been inspired by sculptor Camille Claudel’s respect for the aging female body in works such as Old Helene (1882).
Working digitally allowed me to synthesize my original materials such as ink and oil paint which didn’t sit easily together and caused surface tension in the facial features of my portrait. After printing on Kozo paper, the back side of the image was slowly worn away by hand, in the same way that time erodes all things. Just the image is left, suspended in medium.
Tommy Jayne
"One Scene From The Long Night"
65cm x 65cm x 10cm
Photographic print, UPVC window frame and light box
2025
The home sets the stage.
The props, domestic objects, are either used for protection or as weapons. All objects within reach hold this duality. A wardrobe might block a door or be thrown across a room; a kitchen knife used as an instrument of torture or hidden under a pillow at night.
Our main character is nothing without an audience. The applause fills their ego. A sense of power and stardom washes over them and they always come back for a final bow. ENCOUR! One last soaking up of the atmosphere. Enjoying the audience, tears running down their faces. But this audience isn’t throwing roses. If they were the thorns would be made from metal and serrated, like twisted razor wire and as sharp as broken glass, scattered on the floor to create a ring of protection.
Alcohol never fails to set off the next show. The tension would rise when you hear the laughter downstairs stop and the atmosphere in the building begins to change. Anticipation for the next act starts. Hearing is heightened, listening out for anything that might signal a struggle or a fist hitting skin. This was the most excruciating time. The time in-between the laughter and the violence. Our anxious purgatory. And then suddenly, like a gas explosion ripping through the house, BANG! An orchestra of screams and shouts and smashing and crashing and crying and police sirens has started.
It was time to run in to battle.
65cm x 65cm x 10cm
Photographic print, UPVC window frame and light box
2025
The home sets the stage.
The props, domestic objects, are either used for protection or as weapons. All objects within reach hold this duality. A wardrobe might block a door or be thrown across a room; a kitchen knife used as an instrument of torture or hidden under a pillow at night.
Our main character is nothing without an audience. The applause fills their ego. A sense of power and stardom washes over them and they always come back for a final bow. ENCOUR! One last soaking up of the atmosphere. Enjoying the audience, tears running down their faces. But this audience isn’t throwing roses. If they were the thorns would be made from metal and serrated, like twisted razor wire and as sharp as broken glass, scattered on the floor to create a ring of protection.
Alcohol never fails to set off the next show. The tension would rise when you hear the laughter downstairs stop and the atmosphere in the building begins to change. Anticipation for the next act starts. Hearing is heightened, listening out for anything that might signal a struggle or a fist hitting skin. This was the most excruciating time. The time in-between the laughter and the violence. Our anxious purgatory. And then suddenly, like a gas explosion ripping through the house, BANG! An orchestra of screams and shouts and smashing and crashing and crying and police sirens has started.
It was time to run in to battle.
Nathalia Bertazi
"last time I try to stitch something together"
126 x 90
Stitches on digital print
2025
What constitutes space? What defines a thing? What sustains an image? These are questions that guide my practice as I navigate the materiality of images and the conceptual weight of absence.
126 x 90
Stitches on digital print
2025
What constitutes space? What defines a thing? What sustains an image? These are questions that guide my practice as I navigate the materiality of images and the conceptual weight of absence.
Max Livesey
"Pieta"
assorted found objects including rope, elastic bands, belt buckles, paper clips, string, pins and ties
Dimensions variable; here approx. 3m x 3m x 3m
2025
Max Livesey is an artist and a writer who works across installation, sculpture, film, and fiction.
Their projects are always produced in dialogue with place, buildings, and/or landscape. Current research interests include building history, social history, queerness, class, and desire. The work they are showing for
Rites of Ruins
is a site-specific sculpture, which emphasises material and affective precarity through
an assemblage of found objects, installed within the architecture of the gallery space.
Livesey has a BA in the History of Art from University College London, and a Graduate Diploma
in Art and Design (Fine Art) from the Royal College of Art. Their work has been exhibited in group shows in London including at Way Out East Gallery, White Noise, and BBC Television Centre Big Screen (all 2024).
assorted found objects including rope, elastic bands, belt buckles, paper clips, string, pins and ties
Dimensions variable; here approx. 3m x 3m x 3m
2025
Max Livesey is an artist and a writer who works across installation, sculpture, film, and fiction.
Their projects are always produced in dialogue with place, buildings, and/or landscape. Current research interests include building history, social history, queerness, class, and desire. The work they are showing for
Rites of Ruins
is a site-specific sculpture, which emphasises material and affective precarity through
an assemblage of found objects, installed within the architecture of the gallery space.
Livesey has a BA in the History of Art from University College London, and a Graduate Diploma
in Art and Design (Fine Art) from the Royal College of Art. Their work has been exhibited in group shows in London including at Way Out East Gallery, White Noise, and BBC Television Centre Big Screen (all 2024).
Jingtian Yang
"The shape of me is unknown to my eyes"
UV prints on metal; mirrors; video installation
2025
Jingtian Yang(b.2001 Shandong,China), holds an undergraduate degree
in animation from Jinan University and is currently pursuing a master
degree in Print at Royal College of Art (RCA) in the UK. Jingtian’s work
centers on themes of interpersonal relationships and the interaction
between individuals and society, using art to deeply explore the
complexities of human emotions and social connections. Philosophy
serves as a tool for Jingtian to examine societal issues. Jingtian Yang is a
multi-media artist. He is skilled in using digital media for diverse modes
of expression, with a particular focus on 3D modeling and experimental
video, blending traditional artistic techniques with modern technology to
create a unique visual experience.
UV prints on metal; mirrors; video installation
2025
Jingtian Yang(b.2001 Shandong,China), holds an undergraduate degree
in animation from Jinan University and is currently pursuing a master
degree in Print at Royal College of Art (RCA) in the UK. Jingtian’s work
centers on themes of interpersonal relationships and the interaction
between individuals and society, using art to deeply explore the
complexities of human emotions and social connections. Philosophy
serves as a tool for Jingtian to examine societal issues. Jingtian Yang is a
multi-media artist. He is skilled in using digital media for diverse modes
of expression, with a particular focus on 3D modeling and experimental
video, blending traditional artistic techniques with modern technology to
create a unique visual experience.
Anais Ost
"20/20 Vision"
Image Transfer on Rear View Mirror
15 x 13 x 5 cm
2024
My practice explores light, sound, texture, time, and materiality through sculpture and installation, investigating the interplay between human experience and our relationship with nature. Influenced by my background in music and a passion for geography, I strive to transcend the object, creating works that engage with space and invite viewers to become active participants in their surroundings.
I am interested in how we inhabit and relate to our environment and identities, learning from the passage of time and the transformations found in nature. Drawing from the concept of Umwelt, the unique perceptual world of each being, I explore how materials, movement, and sensory experience shape our understanding of place. By integrating natural and manmade materials with technology, I blur the boundaries between self and environment, immersing viewers in an experience that reflects on impermanence, change, and interconnectedness. My work highlights the tensions between solidity and fluidity, the organic and the industrial, stillness and motion, encouraging a deeper awareness of the ever-shifting landscapes we navigate, both physically and emotionally.
Image Transfer on Rear View Mirror
15 x 13 x 5 cm
2024
My practice explores light, sound, texture, time, and materiality through sculpture and installation, investigating the interplay between human experience and our relationship with nature. Influenced by my background in music and a passion for geography, I strive to transcend the object, creating works that engage with space and invite viewers to become active participants in their surroundings.
I am interested in how we inhabit and relate to our environment and identities, learning from the passage of time and the transformations found in nature. Drawing from the concept of Umwelt, the unique perceptual world of each being, I explore how materials, movement, and sensory experience shape our understanding of place. By integrating natural and manmade materials with technology, I blur the boundaries between self and environment, immersing viewers in an experience that reflects on impermanence, change, and interconnectedness. My work highlights the tensions between solidity and fluidity, the organic and the industrial, stillness and motion, encouraging a deeper awareness of the ever-shifting landscapes we navigate, both physically and emotionally.
Tom Giwi
"An Every Day Thing"
62 x 55 x 8 cm
Wood, Steel, Acrylic Plastic, Magnets
2025
Tom Giwi is an artist and designer whose practice is rooted in encouraging viewers to slow down and engage more deeply with their surroundings, with imagery and their imagination. The abstract images he creates show explosive movement, destruction and transition in a moment of pause. Through a combination of drawing and ‘flat sculptures’ created through overlapping materials, Tom creates work that is layered with details. Encouraging viewers to take a moment of pause in their own lives, and temporarily step out from the noise that has built up around them.
62 x 55 x 8 cm
Wood, Steel, Acrylic Plastic, Magnets
2025
Tom Giwi is an artist and designer whose practice is rooted in encouraging viewers to slow down and engage more deeply with their surroundings, with imagery and their imagination. The abstract images he creates show explosive movement, destruction and transition in a moment of pause. Through a combination of drawing and ‘flat sculptures’ created through overlapping materials, Tom creates work that is layered with details. Encouraging viewers to take a moment of pause in their own lives, and temporarily step out from the noise that has built up around them.
Ana Ionescu
"For You I Would"
Mild Steel, Ink, Water.
175 x 120 x 50cm
2025
Ana Ionescu is a sculptor whose practice is deeply rooted in the idea of materiality, its subtleties but also the curious combinations resulted in the process. Exploring the physical properties and their resonance, she aims to uncover the poetic potential that lies within. A reoccurring motif is the inherent duality of the material world, and the attractiveness of two binary opposite elements coexisting. Shape, dimension and ergonomics bring bodily and sculptural matter together. Juxtaposing the previously mentioned and occasionally intertwining them with the abject or fragility, the physical form becomes the manifestation of visual desire.
In connection to Rites of Ruins, the artist aims with her work to tap into the emotional realm of each viewer. By proposing somewhat aggressive objects in the context of the art exhibition, she creates a safe space for interaction, but also for self-reflection and projection of meaning. The neat and repetitive elements together with symmetry are trying to bring a sense of control and satisfaction to the violent looking sculpture, opening questions related to offence versus defence and genuine trust between humans throughout time.
Mild Steel, Ink, Water.
175 x 120 x 50cm
2025
Ana Ionescu is a sculptor whose practice is deeply rooted in the idea of materiality, its subtleties but also the curious combinations resulted in the process. Exploring the physical properties and their resonance, she aims to uncover the poetic potential that lies within. A reoccurring motif is the inherent duality of the material world, and the attractiveness of two binary opposite elements coexisting. Shape, dimension and ergonomics bring bodily and sculptural matter together. Juxtaposing the previously mentioned and occasionally intertwining them with the abject or fragility, the physical form becomes the manifestation of visual desire.
In connection to Rites of Ruins, the artist aims with her work to tap into the emotional realm of each viewer. By proposing somewhat aggressive objects in the context of the art exhibition, she creates a safe space for interaction, but also for self-reflection and projection of meaning. The neat and repetitive elements together with symmetry are trying to bring a sense of control and satisfaction to the violent looking sculpture, opening questions related to offence versus defence and genuine trust between humans throughout time.
Teng Wang
"Temporal Chronicle"
Teng Wang is an artist and architect based in London and Beijing. We are experiencing the huge changing of our city and life, such as rapid urban renewal, political turbulence, dematerialization, etc. Under these grand narratives, the individual repeated daily life is ignored, misunderstood, and hidden under the social environment and so we are creating boundaries. He revolves around a series of thinking about boundaries between daily and social, personal and collective to question and reveal. His dialogue with social development is by a wide range tools including drawing, photography, video art, performance installation and architecture. In his works, architecture and contemporary art is as a weapon to question what is our role in repetitive routine under the huge social, urban, technology and political changing around us.
Teng Wang is an artist and architect based in London and Beijing. We are experiencing the huge changing of our city and life, such as rapid urban renewal, political turbulence, dematerialization, etc. Under these grand narratives, the individual repeated daily life is ignored, misunderstood, and hidden under the social environment and so we are creating boundaries. He revolves around a series of thinking about boundaries between daily and social, personal and collective to question and reveal. His dialogue with social development is by a wide range tools including drawing, photography, video art, performance installation and architecture. In his works, architecture and contemporary art is as a weapon to question what is our role in repetitive routine under the huge social, urban, technology and political changing around us.
Yu Sun
"Within the Circle"
250cm diameter
Digital Print on Polyester
2025
As a printmaker, my practice explores how printmaking extends beyond traditional formats, adapting to different materials and spatial contexts. I experiment with ways printed imagery can exist outside conventional surfaces, integrating print into physical space and reconfiguring its relationship with the viewer.
My approach is rooted in material exploration, focusing on the physical qualities of ink, pressure, and surface. By working with techniques such as embossing, layered impressions, and plate manipulation, I investigate how prints evolve through repetition and transformation. Rather than treating print as a fixed medium, I explore its ability to shift, expand, and interact with its surroundings.
This process-driven exploration allows me to push the boundaries of printmaking, questioning how images take form and respond to the spaces they occupy. Through experimenting with structure, layering, and spatial adaptation, I look for ways to create prints that are not just images but objects shaped by their material and environment.
250cm diameter
Digital Print on Polyester
2025
As a printmaker, my practice explores how printmaking extends beyond traditional formats, adapting to different materials and spatial contexts. I experiment with ways printed imagery can exist outside conventional surfaces, integrating print into physical space and reconfiguring its relationship with the viewer.
My approach is rooted in material exploration, focusing on the physical qualities of ink, pressure, and surface. By working with techniques such as embossing, layered impressions, and plate manipulation, I investigate how prints evolve through repetition and transformation. Rather than treating print as a fixed medium, I explore its ability to shift, expand, and interact with its surroundings.
This process-driven exploration allows me to push the boundaries of printmaking, questioning how images take form and respond to the spaces they occupy. Through experimenting with structure, layering, and spatial adaptation, I look for ways to create prints that are not just images but objects shaped by their material and environment.
José Cardenas
"A Body of Land"
Video Installation
200 x 70 x 50 cm
2025
I approach photography as a means of uncovering unseen dimensions within the mundane world. For me, imagemaking holds a profound connection to spirituality and scientific exploration, functioning as a tool to probe deeper into reality—whether revealing microscopic structures, celestial phenomena, or ephemeral traces of light. Photography can simultaneously serve as proof of the tangible and as a medium for exploring the elusive and illusory.
This duality informs my practice, which combines landscape photography with ephemeral, site-specific light installations. Through these works, I seek to evoke a sense of instability and ambiguity, challenging the viewer's perception of reality. In an age dominated by rationality and scientific explanations, I aim to reintroduce mystery and wonder, inviting viewers into contemplation.
My work creates a dialogue between contemporary photographic practices and ancient interpretations of nature, using light as both subject and material. By treating light as an active, sculptural presence, I seek to embody the unknowable quality of nature.
Video Installation
200 x 70 x 50 cm
2025
I approach photography as a means of uncovering unseen dimensions within the mundane world. For me, imagemaking holds a profound connection to spirituality and scientific exploration, functioning as a tool to probe deeper into reality—whether revealing microscopic structures, celestial phenomena, or ephemeral traces of light. Photography can simultaneously serve as proof of the tangible and as a medium for exploring the elusive and illusory.
This duality informs my practice, which combines landscape photography with ephemeral, site-specific light installations. Through these works, I seek to evoke a sense of instability and ambiguity, challenging the viewer's perception of reality. In an age dominated by rationality and scientific explanations, I aim to reintroduce mystery and wonder, inviting viewers into contemplation.
My work creates a dialogue between contemporary photographic practices and ancient interpretations of nature, using light as both subject and material. By treating light as an active, sculptural presence, I seek to embody the unknowable quality of nature.
Mai Muraguchi
"Snap"
Jesmonite
600 x 600
2025
I am a contemporary artist living and practicing in London.
Born in Yamanashi and living in Tokyo, I grew up within numerous guidelines of how I ‘should be and behave’. My art practice focuses on the social and group pressures imposed on individuals, shaped by the rules and pressures of society and groups, and the prejudices based on lookism and harassment, from the standpoint of women in Japan, and it confronts to the hidden and the alienating cultural factors that affected me early on.
To question these idealistic and normative concepts of society, I work with a variety of materials, such as words, metal, cosmetics and sound alongside constructing and destroying boundaries using various media, from sculpture, installation, painting and video. The works aim to subvert our perception those normative stereotypes in the world around us by drawing attention to their brutalities.
My artistic process links personal history, experiences and memories with a public context that reflects on social ills caused by the duality of the individual and society, past and present, and the questioning of traditional concepts. Through my work, it is also an exploration of the notion of spontaneity, which has been excluded as a hostage of 'good morals’.
Jesmonite
600 x 600
2025
I am a contemporary artist living and practicing in London.
Born in Yamanashi and living in Tokyo, I grew up within numerous guidelines of how I ‘should be and behave’. My art practice focuses on the social and group pressures imposed on individuals, shaped by the rules and pressures of society and groups, and the prejudices based on lookism and harassment, from the standpoint of women in Japan, and it confronts to the hidden and the alienating cultural factors that affected me early on.
To question these idealistic and normative concepts of society, I work with a variety of materials, such as words, metal, cosmetics and sound alongside constructing and destroying boundaries using various media, from sculpture, installation, painting and video. The works aim to subvert our perception those normative stereotypes in the world around us by drawing attention to their brutalities.
My artistic process links personal history, experiences and memories with a public context that reflects on social ills caused by the duality of the individual and society, past and present, and the questioning of traditional concepts. Through my work, it is also an exploration of the notion of spontaneity, which has been excluded as a hostage of 'good morals’.
Julianna Hellerman
Untitled
700x700x1200
Steel, acrylic, inkjet prints, magnets
2025
My practice explores the architectures of memory embedded within American institutions, particularly the ways they have shifted—visibly and invisibly—since the 1990s. Working within the field of expanded print, I engage both archival and self-generated imagery, assembling layered, three-dimensional works that investigate how histories are preserved, distorted, and overwritten.
Central to my work is the notion of prosthetic memory—the idea that our recollections are increasingly mediated by external sources, from institutional archives to digital repositories. I use transparency, repetition, and sculptural accumulation as methods to embody this idea, creating pieces that resist singular narratives and instead invite viewers into a space of iterative reflection.
My materials range from found ephemera and institutional detritus to digitally constructed prints, but image always takes precedence over language. I resist definitive messaging in my work; I believe that the openness of imagery allows for a more nuanced engagement, where meaning can shift with each encounter, much like memory itself.
Through expanded print and layered form, I seek to examine how institutions shape collective consciousness.
700x700x1200
Steel, acrylic, inkjet prints, magnets
2025
My practice explores the architectures of memory embedded within American institutions, particularly the ways they have shifted—visibly and invisibly—since the 1990s. Working within the field of expanded print, I engage both archival and self-generated imagery, assembling layered, three-dimensional works that investigate how histories are preserved, distorted, and overwritten.
Central to my work is the notion of prosthetic memory—the idea that our recollections are increasingly mediated by external sources, from institutional archives to digital repositories. I use transparency, repetition, and sculptural accumulation as methods to embody this idea, creating pieces that resist singular narratives and instead invite viewers into a space of iterative reflection.
My materials range from found ephemera and institutional detritus to digitally constructed prints, but image always takes precedence over language. I resist definitive messaging in my work; I believe that the openness of imagery allows for a more nuanced engagement, where meaning can shift with each encounter, much like memory itself.
Through expanded print and layered form, I seek to examine how institutions shape collective consciousness.
Oishi Roy Dutta
Pixel Perfect
Photo print on Irish paper 300gsm and silver foil
40 x 30cm
2024
Memory, much like the ruins we inherit, is shaped by erosion as much as by preservation. My practice examines the instability of recollection and the fragility of digital and material documentation, questioning what remains, what fades, and what transforms. Through filmmaking, drawing, and digital interventions, I explore the tension between permanence and decay, examining contemporary “human artifacts” and the ways they shape our identities in an increasingly fragmented, technology-driven world.
Ruins are not merely remnants of the past; they are vessels of shifting narratives, much like the digital detritus we leave behind. I am interested in the ritual of degradation—how images, histories, and myths are deconstructed and reassembled in the digital age. In response to the relentless surge of consumerism and the algorithmic forces shaping our desires, I engage in acts of covering, obscuring, and revealing, treating each image as an archaeological site of personal and collective memory.
Through absurdity, humor, and satire, my work reflects the way we process and discard information, mirroring the entanglement of data, history, and lived experience. In these ruins—both digital and material—I seek to uncover new ways of understanding identity, environment, and cultural transformation.
Photo print on Irish paper 300gsm and silver foil
40 x 30cm
2024
Memory, much like the ruins we inherit, is shaped by erosion as much as by preservation. My practice examines the instability of recollection and the fragility of digital and material documentation, questioning what remains, what fades, and what transforms. Through filmmaking, drawing, and digital interventions, I explore the tension between permanence and decay, examining contemporary “human artifacts” and the ways they shape our identities in an increasingly fragmented, technology-driven world.
Ruins are not merely remnants of the past; they are vessels of shifting narratives, much like the digital detritus we leave behind. I am interested in the ritual of degradation—how images, histories, and myths are deconstructed and reassembled in the digital age. In response to the relentless surge of consumerism and the algorithmic forces shaping our desires, I engage in acts of covering, obscuring, and revealing, treating each image as an archaeological site of personal and collective memory.
Through absurdity, humor, and satire, my work reflects the way we process and discard information, mirroring the entanglement of data, history, and lived experience. In these ruins—both digital and material—I seek to uncover new ways of understanding identity, environment, and cultural transformation.
Yuzhou Zhu
"22nd Birthday Night"
Photo-Etching
27 x 33 cm
2025
Yuzhou is a Chinese artist based in London, currently studying Print at the Royal College of Art. Working across various mediums—including printmaking, watercolor, and marker on Chinese paper—she explores the relationship between her inner self and the surrounding world, creating poetic and sensual expressions of these themes.
In her print series 22nd Birthday Night, Yuzhou employs photo etching within the printmaking process, seeking to capture what she perceives as “reality” in the space between present emotions and memory perception of the mind.
“I was keeling on the mat, then I pressed the shutter…the room was dark, maybe my candle flame was waving beside?… As I peeled off the paper from the plate, the memory scene stopped, I stared at the print, suddenly perceived the fact that it had been away from me for a long time.”
Photo-Etching
27 x 33 cm
2025
Yuzhou is a Chinese artist based in London, currently studying Print at the Royal College of Art. Working across various mediums—including printmaking, watercolor, and marker on Chinese paper—she explores the relationship between her inner self and the surrounding world, creating poetic and sensual expressions of these themes.
In her print series 22nd Birthday Night, Yuzhou employs photo etching within the printmaking process, seeking to capture what she perceives as “reality” in the space between present emotions and memory perception of the mind.
“I was keeling on the mat, then I pressed the shutter…the room was dark, maybe my candle flame was waving beside?… As I peeled off the paper from the plate, the memory scene stopped, I stared at the print, suddenly perceived the fact that it had been away from me for a long time.”
Po Yun-Kuo
"The Things Occasionally Lost in the Compartments of Drawers"
Plastic
24 x 15 x 90cm
2024
Po-Yun Kuo, born in Taiwan, is an interdisciplinary artist working across sculpture, video installation, and performance art.
Her practice explores the intersections of the body, space, and politics, focusing on how human living spaces reflect power structures and social hierarchies. Through the reconfiguration of found objects from public spaces, she examines the remnants of social order.
Many of her works involve the reassembly of found objects, engaging in processes of deconstruction and reinterpretation. She prompts audiences to reconsider the boundaries between art and everyday life, while also challenging power dynamics within spatial structures and exposing their absurdity.
Plastic
24 x 15 x 90cm
2024
Po-Yun Kuo, born in Taiwan, is an interdisciplinary artist working across sculpture, video installation, and performance art.
Her practice explores the intersections of the body, space, and politics, focusing on how human living spaces reflect power structures and social hierarchies. Through the reconfiguration of found objects from public spaces, she examines the remnants of social order.
Many of her works involve the reassembly of found objects, engaging in processes of deconstruction and reinterpretation. She prompts audiences to reconsider the boundaries between art and everyday life, while also challenging power dynamics within spatial structures and exposing their absurdity.
Laura Avedissian, Natalia Mik, Juan Ye, Rheena Jung, Yubing Chen
"ARCHIVE GHOST [OF A LAMP]"
190mm x 410mm
Acrylic, Metal, Fire Bricks
2025
Ghost Archive [of a lamp] brings together students from the Interior Design MA at the Royal College of Art in a collaborative exploration of reuse and material memory.
190mm x 410mm
Acrylic, Metal, Fire Bricks
2025
Ghost Archive [of a lamp] brings together students from the Interior Design MA at the Royal College of Art in a collaborative exploration of reuse and material memory.
Jialin Yan
"Undercurrent"
medium format film photography, archival inkjet print, lace fabric, wood sheet
29.7 × 42 cm
2022
My practice navigates the fragile space between presence and absence, exploring how memory, loss, and remnants shape our understanding of time. Through medium format film photography, archival prints, and tactile materials like lace and wood, I seek to reconstruct what has faded—tracing the echoes of those who are no longer here.
In the context of Rites of Ruins, my work engages with the ruins of personal and collective memory. Inspired by the loss of my uncle, grandfather, and grandmother—whose absence remains an indelible presence—I turn to photography as an act of retrieval. By revisiting spaces they once occupied and capturing overlooked traces, I piece together fragments of remembrance, questioning what lingers after physical forms disappear.
Ruins are not just physical remains; they are emotional landscapes where grief and memory intertwine. My work embraces these spaces as sites of transformation, where loss is not an end but an ongoing current—flowing through time, reshaping itself, and refusing to be forgotten.
medium format film photography, archival inkjet print, lace fabric, wood sheet
29.7 × 42 cm
2022
My practice navigates the fragile space between presence and absence, exploring how memory, loss, and remnants shape our understanding of time. Through medium format film photography, archival prints, and tactile materials like lace and wood, I seek to reconstruct what has faded—tracing the echoes of those who are no longer here.
In the context of Rites of Ruins, my work engages with the ruins of personal and collective memory. Inspired by the loss of my uncle, grandfather, and grandmother—whose absence remains an indelible presence—I turn to photography as an act of retrieval. By revisiting spaces they once occupied and capturing overlooked traces, I piece together fragments of remembrance, questioning what lingers after physical forms disappear.
Ruins are not just physical remains; they are emotional landscapes where grief and memory intertwine. My work embraces these spaces as sites of transformation, where loss is not an end but an ongoing current—flowing through time, reshaping itself, and refusing to be forgotten.
Sophie Anna Green
"Dark"
Digital Fine Art Print
50 x 70 cm
2021
My work seeks to represent the forms of landscape through crafting an unveiled
perception of geological, anthropological, psychographic and ecological studies.
In weaving together the materiality of land with the theoretical influences of poets,
writers, scientists and thinkers I want to explore journeys; not just of the physical, but of
the mind, of time and of process.
I like to experiment with the physicality of making, through embedded narratives and
auras, and to reinterpret my own experience of landscape.
Our experience is fleeting, but a moment in the eyes of the universe, but marks are our
contribution to the fading memories and echoes of land. And through fine art mediums,
in particular print and photography, I hope to capture this – to leave something behind.
This layered experience, both of land, of time and of object.
Digital Fine Art Print
50 x 70 cm
2021
My work seeks to represent the forms of landscape through crafting an unveiled
perception of geological, anthropological, psychographic and ecological studies.
In weaving together the materiality of land with the theoretical influences of poets,
writers, scientists and thinkers I want to explore journeys; not just of the physical, but of
the mind, of time and of process.
I like to experiment with the physicality of making, through embedded narratives and
auras, and to reinterpret my own experience of landscape.
Our experience is fleeting, but a moment in the eyes of the universe, but marks are our
contribution to the fading memories and echoes of land. And through fine art mediums,
in particular print and photography, I hope to capture this – to leave something behind.
This layered experience, both of land, of time and of object.
Tamsin Loxley
"Memory"
Oak gall ink on paper
76 x 56 cm
2023
My work sits alongside a regenerative farming practice. The ongoing projects and increasing wilderness there inform my creative practice, and the creative practice helps to deepen me understanding of the land and its future. Using a variety of methods to collect information I have been creating a diaristic abstract land archive, exploring our unseen relationship to land, soil, nature, wilderness and the work it takes to nurture it. The very nature of soil, land, farming and wilderness is decay and rebirth. Without 'ruin' there is no soil, without soil there is no life.
Oak gall ink on paper
76 x 56 cm
2023
My work sits alongside a regenerative farming practice. The ongoing projects and increasing wilderness there inform my creative practice, and the creative practice helps to deepen me understanding of the land and its future. Using a variety of methods to collect information I have been creating a diaristic abstract land archive, exploring our unseen relationship to land, soil, nature, wilderness and the work it takes to nurture it. The very nature of soil, land, farming and wilderness is decay and rebirth. Without 'ruin' there is no soil, without soil there is no life.
Stephane Lambion
"Bellis"
10 x 15cm
Nine framed digital prints
2025
Starting from poetry and experimental writing, Stéphane’s practice then expanded towards visual poetry, often combining textual and visual fragments in collage-based narratives. His work addresses the themes of memory, identity, nostalgia and loss–often of physical spaces–through the creation of new narrative forms, often derived from the structuring of events on hidden networks of underlying connections and coincidences.
10 x 15cm
Nine framed digital prints
2025
Starting from poetry and experimental writing, Stéphane’s practice then expanded towards visual poetry, often combining textual and visual fragments in collage-based narratives. His work addresses the themes of memory, identity, nostalgia and loss–often of physical spaces–through the creation of new narrative forms, often derived from the structuring of events on hidden networks of underlying connections and coincidences.
Anthony Cho
"AFTARIM (reverb)"
Polaroid emulsion lift on glass
75 x 75 x 5mm
to be caught in the currents of ambiguity, floating but on the verge of drowning
to yearn hopefully
to live poetically without rhyme
Polaroid emulsion lift on glass
75 x 75 x 5mm
to be caught in the currents of ambiguity, floating but on the verge of drowning
to yearn hopefully
to live poetically without rhyme
Luna Lyu
"4024"
Brass, copper, gold, silver, photo, jesmonite, perlescent model paint, wood, metallic car paint, cold leaves, crystals
Dimensions variable
2024
Qiuwen Luna Lyu is a Chinese multi-disciplinary artist and designer based in London. Qiuwen uses jewellery as an interactive art medium to activate thoughts and talks towards the current society. She focuses on the conceptual and symbolic nature of jewellery to create wearable artefacts/sculptures that act as the critique on contemporary values. To reframe what jewellery can be, she incorporates interdisciplinary methodologies into her design practice. By interweaving elements from a broad context, she makes bold jewellery beyond the limit of scale, materials and ways of wearing.
Brass, copper, gold, silver, photo, jesmonite, perlescent model paint, wood, metallic car paint, cold leaves, crystals
Dimensions variable
2024
Qiuwen Luna Lyu is a Chinese multi-disciplinary artist and designer based in London. Qiuwen uses jewellery as an interactive art medium to activate thoughts and talks towards the current society. She focuses on the conceptual and symbolic nature of jewellery to create wearable artefacts/sculptures that act as the critique on contemporary values. To reframe what jewellery can be, she incorporates interdisciplinary methodologies into her design practice. By interweaving elements from a broad context, she makes bold jewellery beyond the limit of scale, materials and ways of wearing.
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