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Alexander Appleby

@alexander.appleby

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New painting @rca_painting

𝘚𝘺𝘮𝘱𝘩𝘰𝘯𝘺

190 x 220cm

Acrylic on Linen

2026 taken in Royal College of Art by @alexander.appleby

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2 months ago

Introducing Alexander Appleby (b. 1995) @alexander.appleby

In Appleby’s acrylic paintings, flora take on a near sentient presence, inhabiting interiors and symbolic terrains where light, personal objects, and memory meet. His early engagement with retro video game aesthetics has shifted toward a quieter, more reflective visual language. Imagined landscapes grow from the details of everyday life. Familiar domestic spaces such as a window cill, a spare room, or a distant hillside in the northwest of England become sites of gentle revelation. The divine appears not as distant, but embedded in small details, where the domestic and the transcendental exist together, and the natural world holds its own quiet agency.

Artwork list:

1. Like the Sun Which Draws Forth Every Planet and Shines on All, 2025 - 2026. Acrylic on Carvas, 120 x 172 cm,

2. Installation shot of Like the Sun Which Draws Forth Every Planet and Shines on All

3. Chaos Pendulum, 2025 - 2026. Acrylic on canvas, 120 x 172 cm

4. Installation shot of Chaos Pendulum by @alexander.appleby

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107

6 months ago

𝙇𝙞𝙠𝙚 𝙩𝙝𝙚 𝙎𝙪𝙣 𝙒𝙝𝙞𝙘𝙝 𝘿𝙧𝙖𝙬𝙨 𝙁𝙤𝙧𝙩𝙝 𝙀𝙫𝙚𝙧𝙮 𝙋𝙡𝙖𝙣𝙩 𝙖𝙣𝙙 𝙎𝙝𝙞𝙣𝙚𝙨 𝙤𝙣 𝘼𝙡𝙡

120x170cm Acrylic, Canvas

@rca_painting taken in Rca Battersea by @alexander.appleby

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7 months ago

𝘕𝘰𝘵𝘩𝘪𝘯𝘨 𝘞𝘦 𝘚𝘢𝘸 𝘞𝘢𝘴 𝘙𝘦𝘢𝘭𝘭𝘺 𝘛𝘩𝘦𝘳𝘦

𝘙𝘰𝘮𝘢𝘯𝘤𝘦 𝘞𝘪𝘵𝘩𝘰𝘶𝘵 𝘜𝘴, @noritogallery

“Across Alexander Appleby’s works, twilight emerges as a recurring atmosphere, casting everyday scenes in an otherworldly palette.
Sunset and sunrise are often made difficult to distinguish, dissolving the boundary between day’s end and day’s beginning.
This luminous in-betweenness recalls the fleeting clarity of thought that occurs just before sleep or upon waking, when the subconscious is still at play. Suggestive of a world in flux, Appleby’s paintings become metaphysical landscapes-charged with introspection, transformation, and the strange, spectral beauty of the ordinary made unfamiliar.”

Nothing We Saw Was Really There, 2025
Acrylic on canvas
170 x 120 cm

Installation view by Amin Yousefi (@studiodeew)

@noritogallery taken in Soho, London UK by @alexander.appleby

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a year ago

DATA COMPOSITION - Alexander Appleby

“Recent years have seen a mass digitization of the vast sea of information involved in managing our daily lives — and this, in turn, is impacting society as a whole. Thanks to the speed and volume of online platforms, individuals are able to sort for the exact information they seek, absorbing it instantaneously and reaching beyond the scope of their own values to express themselves in various ways. In 'DATA COMPOSITION', two visual artists who exist in different material environments — Alexander Appleby and Yoon Seo Lee — each in their own way and using their own methods, draw from the information flowing through our contemporary reality to explore whether and how these things relate to their personal experiences and memories, incorporating them into their body of work.”

1. Reptilian Orchid

2. Chemical Potential

3. Dimensionless Life

4. Biblical Flood

5. 3D Flower

6. The Age of Man

7. Flowers from Termina Field

8. Low Poly Landscape

“A director in his own right, Alexander Appleby (b.1995, UK) recreates the nature he has experienced in scenarios of his own making. Influenced by the landscapes of Northern England, Appleby’s work is imbued with the native feel of the region, underpinned by the vivid colors and textures of its rugged terrain. His smooth-surfaced trees, mountains, and plants, meanwhile, serve as a device that invites a more focused look at the beauty of nature itself, where no two things are exactly alike.”

#alexanderappleby

#theuntitledvoid

#artistsoninstagram

#contemporarypainting

@the.untitled.void x @instantskin x @a.a.paintings taken in Seoul, South Korea by @alexander.appleby

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3 years ago

𝕌𝕡𝕔𝕠𝕞𝕚𝕟𝕘 𝕚𝕟 ℍ𝕠𝕟𝕘 𝕂𝕠𝕟𝕘 | NORITO is pleased to participate in the inaugural edition of PAVILION Hong Kong 2026 (@its.a.pavilion), presenting a focused selection of new paintings by London-based artist Alexander Appleby.

•••

VIP Preview
23 March (Mon), 12–8 pm
24 March (Tue), 2–8 pm

Public Days
25 March (Wed), 2–7 pm
26–28 March (Thu–Sat), 10 am–7 pm

Venue
11/F & 12/F, H Queen’s
80 Queen’s Road Central
Hong Kong

•••

Alexander Appleby (b. 1995, Lancaster) is a London-based artist whose practice emerged from landscape painting shaped by his upbringing in Northern England. Growing up in Lancaster — a region marked by an acute awareness of desolate nature — he developed imagined landscapes projecting lush flora across northern terrains. These early works drew from the flattened, low-polygon aesthetics of 64-bit gaming, establishing a visual grammar that continues to underpin his evolving practice.

Appleby will complete his MA in Painting at the Royal College of Art in September 2026. Recent exhibitions include 𝙎𝙝𝙖𝙥𝙞𝙣𝙜 𝙩𝙝𝙚 𝘾𝙝𝙧𝙮𝙨𝙖𝙣𝙩𝙝𝙚𝙢𝙪𝙢 (NORITO Off-site Project, Bangkok, 2026); Moosey, Norwich (2026); Untitled Art, Miami Beach (2025); 𝙍𝙤𝙢𝙖𝙣𝙘𝙚 𝙒𝙞𝙩𝙝𝙤𝙪𝙩 𝙐𝙨 (duo exhibition, NORITO, London, 2025); and 𝙐𝙣𝙞𝙩𝙮 𝙞𝙣 𝘿𝙞𝙫𝙚𝙧𝙨𝙞𝙩𝙮 (Powerlong Museum, Shanghai, 2025). His first solo exhibition with NORITO will take place in London from September to October 2026.

Image: 𝘗𝘳𝘰𝘱𝘢𝘨𝘢𝘵𝘪𝘰𝘯 𝘰𝘧 𝘠𝘰𝘶, 2026, Acrylic on linen, 172 x 120 cm taken in Hong Kong by @alexander.appleby

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4 months ago

𝘈𝘭𝘪𝘦𝘯𝘢𝘵𝘪𝘰𝘯 𝘢𝘯𝘥 𝘐𝘴𝘰𝘭𝘢𝘵𝘪𝘰𝘯

ＲｏｍａｎｃｅＷｉｔｈｏｕｔＵｓ

30cm x 40cm
Acrylic

📍@noritogallery
📸 @studiodeew taken in Soho, London UK by @alexander.appleby

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a year ago

Alexander Appleby (b.1995, UK) is a Lancaster-based figurative painter whose acrylic flora assume a near-sentient presence, inhabiting interiors and symbolic terrains where light, personal objects, and memory converge. His early engagement with retro video game aesthetics has gradually given way to a more contemplative visual language—one in which imagined landscapes emerge from the textures of the everyday.

This shift is not only marked by a more reflective tone, but also by the quiet intrusion of the human figure—often partial, fragmented, or transposed into animal form. In 𝘜𝘯𝘤𝘰𝘯𝘷𝘦𝘯𝘵𝘪𝘰𝘯𝘢𝘭 𝘞𝘪𝘴𝘥𝘰𝘮, the image of a dog resting beneath an orchid serves as a subtle yet resonant allusion to Diogenes’ Cynic philosophy—evoking a state of being unburdened by social expectations, grounded instead in radical simplicity. Appleby distills profound concepts into deceptively gentle imagery: the scene neither demands interpretation nor resists it, offering viewers the space to simply be with the work. It’s a shift from digital nostalgia to a kind of painted introspection, where wisdom manifests not through spectacle but through presence.

This quiet presence recurs across his work, including a self-described “study of light,” where a hybrid flower floats in a distorted reality shaped by glass. Solitude is not alienation but a space of clarity and comfort. Two rings, resting side by side, echo this sentiment—personal yet universal, they honour connection through the poetry of the ordinary.

Image:
𝘜𝘯𝘤𝘰𝘯𝘷𝘦𝘯𝘵𝘪𝘰𝘯𝘢𝘭 𝘞𝘪𝘴𝘥𝘰𝘮, 2025, acrylic on a wooden panel, 40 x 30 cm © the artist
𝘈𝘭𝘪𝘦𝘯𝘢𝘵𝘪𝘰𝘯 𝘢𝘯𝘥 𝘐𝘴𝘰𝘭𝘢𝘵𝘪𝘰𝘯, 2025, acrylic on a wooden panel, 40 x 30 cm © the artist taken in Beak Street by @alexander.appleby

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a year ago

𝘛𝘩𝘦 𝘚𝘢𝘤𝘳𝘦𝘥𝘯𝘦𝘴𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘖𝘳𝘥𝘪𝘯𝘢𝘳𝘺

Acrylic on Wooden Panel
24cm x 33cm
2025

Ｒｏｍａｎｃｅ　Ｗｉｔｈｏｕｔ　Ｕｓ

📍- @noritogallery

📸 - @studiodeew taken in Soho, London UK by @alexander.appleby

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a year ago

Alexander Appleby’s practice draws on the natural world as a site of emotional and existential revelation, often merging the human form with botanical elements. His landscapes are not mere representations of place but are imbued with a sense of embodied presence—hills become reclining figures, and flowers stand in for the self.

In 𝘕𝘢𝘵𝘶𝘳𝘦 𝘢𝘴 𝘢 𝘚𝘰𝘶𝘳𝘤𝘦 𝘰𝘧 𝘙𝘦𝘷𝘦𝘭𝘢𝘵𝘪𝘰𝘯, Appleby gently anthropomorphizes the landscape, using it as a vessel for love and memory, embedding a personal artifact to evoke intimacy without overt confession.

In 𝘠𝘰𝘶𝘳𝘴𝘦𝘭𝘧, 𝘢𝘯 𝘐𝘭𝘭𝘶𝘴𝘪𝘰𝘯, he pushes this further, collapsing the boundary between plant and person: a daffodil becomes a surrogate for the ego, suggesting identity not as fixed but as a mutable reflection shaped by perception. Across both works, nature becomes both mirror and metaphor—revealing, distorting, and ultimately expanding the self.

Photo: Amin Yousefi (@studiodeew) by @alexander.appleby

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a year ago

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“The Magnetic Field”

3.6m x 1.8m
Acrylic on Canvas
2025

“In The Magnetic Field, the artist becomes a world-builder, creating a post-human Eden where delicate metal flowers float in stillness, held in a hand-thrown clay bowl. This imagined ecosystem—both fragile and enduring—is a microcosm used to explore larger themes, including climate change and the intelligence of non-human life. By transforming organic forms into rigid, permanent structures, the artist elevates nature to something sacred and sovereign. World-building becomes a method of reflection: a way to reimagine existence beyond human dominance. In this suspended, silent world, nature doesn’t just survive—it evolves, outlasts, and quietly asserts its own deeper intelligence.”

@powerlongmuseum
@winnersgalleryhk taken in Powerlong Museum (宝龙美术馆) by @alexander.appleby

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a year ago

Last couple of weeks to see the current exhibition 𝐑𝐨𝐦𝐚𝐧𝐜𝐞 𝐖𝐢𝐭𝐡𝐨𝐮𝐭 𝐔𝐬.

Following their duo presentation at Norito, Alexander Appleby and Eve Yifan Jiang will continue their collaboration with a duo booth at the Untitled Art Miami this December.

Image:
Alexander Appleby’s 𝘠𝘰𝘶𝘳𝘴𝘦𝘭𝘧, 𝘢𝘯 𝘐𝘭𝘭𝘶𝘴𝘪𝘰𝘯, 2025, acrylic on a wooden panel, 33 x 24 cm taken in Beak Street by @alexander.appleby

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a year ago