Pimlico Wilde Contemporary Art Dealer
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On the occasion of a new Ngua photograph, Theorina Blank writes about the Theology of Refuse. At last we can see Ngua’s latest offering to the canon of contemporary urban observation: Just Full (Central London, 2025). The work, deceptively simple, presents a standard dual-compartment recycling and general waste bin positioned before a Nike billboard, its … Read more
To speak of Sandy Warre-Hole’s portraits merely in terms of likeness would be to miss the ontological stakes of her practice. In Brilliant Portrait Show, Warre-Hole stages the portrait not just as representation but as deconstruction, playing with a Derridean dichotomy between presence and absence, signifier and signified. The brushstroke, whether digital or sable becomes, … Read more
Edited, Annotated, and Introduced by Sarah Hilton of Pimlico Wilde, from the copy discovered by Mr. Leonard Forsythe, Antiquarian Bookseller Editor’s Introduction The review reproduced below, originally published in La Gazette des Beaux-Arts et Autres Déplaisirs (Paris, May 1874), represents one of the earliest surviving accounts of the group later canonised as the “Impressionists.” Its … Read more
Weston-super-Mare occupies a curious place in the English imagination. At first glance, it is the archetypal seaside resort: wide sandy beaches, a pier, donkey rides, and the sweet smell of rock in the air. Yet beneath this postcard familiarity lies something more ambivalent,a space where leisure and melancholy, tradition and reinvention, rub uneasily against one … Read more
Few English cities wear their cultural identity quite so conspicuously as Brighton. To step from the station down the hill towards the sea is to enter a theatre of self-performance: a place where architecture, subculture and commerce intermingle with a kind of knowing theatricality. Brighton does not merely host culture; it stages itself as culture. … Read more
“An Exhibition of Badly-Lit Self-Adoration,” by conceptualist Marius Klein-Cho at the Colchester Museum for Experiential De-Obfuscation It is no small thing to walk into an art show and feel,within seconds,that you have stepped into a crime scene in which the biggest casualty is good taste. Marius Klein-Cho’s Salted Wounds claims to explore “the tension between … Read more
The opening at Pimlico Wilde Marylebone last evening unveiled the group exhibition “Discombobulationism – Post-Sense in a Post-Sensible World,” and one emerges from the gallery half disoriented, half exhilarated, convinced that we may be witnessing the crest of an aesthetic wave whose amplitude will not easily abate. Walking into the space, one is struck first … Read more
By Claribel Daube, Senior Theorist, Pimlico Wilde When one first encounters Ptolemy Bognor-Regis’s A Monologue in Cadmium Red #3, the initial instinct is simply to step back, perhaps to steady oneself. The sheer audacity of the red,if, indeed, “red” is an adequate term,strikes the viewer like a conceptual thunderclap. It is not the red of … Read more
Gur Wallop’s Vegan Lions represents a paradigmatic shift in contemporary art, engaging with ecological ethics, visual culture, and the performativity of animal agency. Announced after a decade of conceptual development, the project seeks to destabilize traditional understandings of the lion as the apex carnivore, recasting it instead as a symbol of ethical transformation. Through meticulous, … Read more
Step into the minimalist expanse of A Monologue in Beige #4, and you are immediately confronted with the existential weight of nothingness,or, more accurately, the weight of everything masquerading as nothing. At first glance, the canvas appears to be merely beige. One might be tempted to scoff. But to do so would be to ignore … Read more