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Kate Lyddon

@katelyddon

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What Remains Within ~ @annelyjuda ~ 1st Oct - 7th Nov
Monograph available via DM

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"What Remains Within" 🧠🧵

Reporting from the London floor of Apartman! 🇬🇧

Is memory a static record of the past, or is it a living sediment that seeps into our skin, the fabrics we touch, and household objects?

Opening its doors in the historic Georgian building of Annely Juda Fine Art, the "What Remains Within" exhibition transforms the act of remembering from a mental process into a tactile experience. Brought together by independent curator Paola Lucente, artists Chloe Bonfield, Kate Lyddon, and Zulfiya Spowart trace the physical marks left by memory and intergenerational transmission on materials. From fluid paints seeping into cheesecloth to a toy rocking horse stripped of its ability to rock by a shifted center of gravity, this selection turns the past into a living archive.

Our review of this intimate and cinematic exhibition etched into the memory of body and material is live on the blog!

👤 Artists: Chloe Bonfield, Kate Lyddon, Zulfiya Spowart

🖼️ Exhibition: What Remains Within

📍 Venue: Annely Juda Fine Art (Project Room), London

🗓️ Dates: October 1 – November 7, 2026
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"What Remains Within" 🧠🧵

Apartman'ın Londra katından bildiriyoruz! 🇬🇧

Hafıza geçmişin donuk bir kaydı mıdır, yoksa tenimize, dokunduğumuz kumaşlara ve nesnelere sızan canlı bir tortu mu?

Annely Juda Fine Art’ın tarihi Georgian binasında kapılarını açan "What Remains Within" sergisi, hatırlama eylemini zihinsel bir süreçten çıkarıp dokunsal bir deneyime dönüştürüyor. Bağımsız küratör Paola Lucente kurgusuyla bir araya gelen Chloe Bonfield, Kate Lyddon ve Zulfiya Spowart; hafızanın ve kuşaklararası aktarımın malzeme üzerinde bıraktığı izleri sürüyor. Tülbent kumaşına sızan akışkan boyalardan, ağırlık merkezi değiştirilerek denge yetisi elinden alınan oyuncak bir sallanan ata uzanan bu seçki, geçmişi yaşayan bir arşive çeviriyor.

Bedenin ve malzemenin hafızasına kazınan bu samimi ve sinematik serginin incelemesi blog'da yayında!

👤 Sanatçılar: Chloe Bonfield, Kate Lyddon, Zulfiya Spowart
🖼️ Sergi: What Remains Within
📍 Mekan: Annely Juda Fine Art (Project Room), Londra
🗓️ Tarih: 1 Ekim – 7 Kasım 2026

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Kudos to @lucente_paola on a brilliantly curated group show at @annelyjuda featuring the work of @katelyddon @chloe_bonfield and @zulfiya_spowart 💓💓💓

‘What Remains Within’ explores memory, inheritance, and the traces left behind by human experience, in particular, the experience of living inside a mother’s body. The works in this exhibition treat memory not as a static record of the past, but as something continually absorbed, altered, and passed down. Across the space, bodies, pigments, and domestic objects become unstable archives—reworking personal histories, psychological states, and generational inheritance into entirely new physical forms.

Runs until 7 November 2026 at Annely Juda Fine Art, Mayfair.

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What Remains Within, an exhibition curated by Paola
Lucente @lucente_paola , brings together the work of three contemporary artists - Chloe Bonfield @chloe_bonfield , Kate Lyddon @katelyddon , and Zulfiya Spowart @zulfiya_spowart - concerned with memory, inheritance and the traces experience leaves behind.

Conceived in parallel with Nicola Turner’s @nicolaturner.art | Tear Secrets from Your Yielding Flesh, the exhibition considers the histories we inherit and the physical and emotional traces they leave within us.

Across painting and sculpture, the works touch upon material, gesture, the body and domestic life, treating memory not as a fixed record of the past but as something continually absorbed, altered and
passed on. Each work shares an interest in what persists without being consciously remembered, surfacing instead through repetition, an altered object or a material trace.

Photo Annely Juda Fine Art @annelyjuda

#art #artlondon #annelyjudafineart #londonsculpture #sculpture

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Intuitive Creation @katelyddon @annelyjuda

#katelyddon #katelyddonart #annelyjudafineart #artofinstagram #artlover

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KATE LYDDON one of my favourite painters of now ❤️🧡🩵 @annelyjuda @katelyddon

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Upcoming Project Room Exhibition: What Remains Within — curated by Paola Lucente @lucente_paola

Chloe Bonfield, Kate Lyddon, Zulfiya Spowart
@chloe_bonfield @katelyddon @zulfiya_spowart

Preview: Thursday 1 October, 6–8pm

What Remains Within, an exhibition curated by Paola Lucente, brings together the work of three contemporary artists concerned with memory, inheritance and the traces experience leaves behind. Coinciding with our first solo exhibition of Nicola Turner, I Tear Secrets from Your Yielding Flesh, the exhibition considers the histories we inherit and the physical and emotional traces they leave within us.

The exhibition will take place in the Project Room on the first floor of our Hanover Square gallery.

The exhibition will run 1 October – 7 November 2026.

Image: Kate Lyddon, Chronos, Crimson and Clover, Oil and pigment on linen, 200 × 140 cm, 2026

For more information, visit the link in our bio.

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#studioshots of #katelyddon . Kate has works up at the @drawingroom_london in #bermondsey through June 23, 2026, and has shown with @cobgallery @agbi_1814

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SIN

Henrietta Armstrong, Nicola Bealing, Kate Lyddon, Joe Hesketh,
Gillian Potkins, Rebecca Scott, Stella Whalley, Mark Woods

Curated by Rebecca Scott

The Seven Deadly Sins (also known as the Capital Vices or Cardinal Sins) function as a grouping of major vices within the teachings of Christianity. The list which became formalized in the 6th Century by Pope Gregory I is Lust, Gluttony, Greed, Sloth, Wrath, Envy and Pride. These sins are often considered “deadly” because they are believed to be the root causes from which other sins and vices develop.

What is Sin? Used for over a thousand years, the current form of the word comes from Middle English sinne, derived from the Old English syn. The original meanings of sin were largely concerned with religious matters: “an offense against religious or moral law”; “a transgression of the law of God” and are still used to this day.

Are these Sins still relevant? In 1993 Australian artist Susan Dorothea White created The Seven Deadly Sins of Modern Times, inspired by the Table of the Seven Deadly Sins, 1505-1510 by Hieronymus Bosch. This acrylic painting on a wooden table is where she proposes today’s deadly sins, the opposite of the original.

Indifference replaces Anger, Self-effacement replaces Pride/Vanity, Celibacy replaces Lust, Workaholism in place of Sloth, Dieting replaces Gluttony, Squandering replaces Avarice/Greed and Sucking-up replaces Envy. White explains: “I reversed the tradition sins, replacing each with its antonym because the opposite extremes are just as ‘deadly’.”

It seems that whether it is the original sins or a newer alternative, all are a commentary on the human condition – good or bad. This exhibition brings together Henrietta Armstrong, Nicola Bealing, Kate Lyddon, Joe Hesketh, Gillian Potkins, Rebecca Scott, Stella Whalley and Mark Woods, all who have used aspects of these sins within their practice.

Exhibition Runs until 13 June 2026

Open Thurs – Sat, 12-5pm

Floor 1
6-8 Vestry Street
London, N1 7RE

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Kate Lyddon ‘Supernoodles?’ 2025, Oil + collage on canvas, 152 x 122cm

Kate writes: My work has reflected on the stages of life from childhood to adolescence to womanhood in an exploration of the female experience, human dualities, cycles of life, and the subconscious. I’m interested in the idea of ‘slippage’, both visually through the medium of paint, and psychologically, as a way of describing the thought processes from which imagery arises. Visual slippages allow for a sense of in-betweenness, where images of youth and age, beauty and horror lapse in and out of focus through
transparent layers of paint. The canvas becomes a threshold through which imagery forms in layers, leaving the viewer to find their own way through.

SIN

Henrietta Armstrong, Nicola Bealing, Kate Lyddon, Joe Hesketh,
Gillian Potkins, Rebecca Scott, Stella Whalley, Mark Woods

Curated by Rebecca Scott

Exhibition Runs: 2 May to 13 June 2026

Floor 1
6-8 Vestry Street
London, N1 7RE

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Something wicked this way comes…very excited for this one 🕯️🔥

@vestry_st :

We are delighted to announce SIN, featuring Henrietta Armstrong, Nicola Bealing, Kate Lyddon, Joe Hesketh, Gillian Potkins, Rebecca Scott, Stella Whalley and Mark Woods.

Curated by Rebecca Scott @rebeccscott

Private view: Friday 1 May, 6-8pm

The Seven Deadly Sins (also known as the Capital Vices or Cardinal Sins) function as a grouping of major vices within the teachings of Christianity. The list which became formalized in the 6th Century by Pope Gregory I is Lust, Gluttony, Greed, Sloth, Wrath, Envy and Pride. These sins are often considered “deadly” because they are believed to be the root causes from which other sins and vices develop.

What is Sin? Used for over a thousand years, the current form of the word comes from Middle English sinne, derived from the Old English syn. The original meanings of sin were largely concerned with religious matters: “an offense against religious or moral law”, “a transgression of the law of God” and are still used to this day.

Are these Sins still relevant? In 1993 Australian artist Susan Dorothea White created The Seven Deadly Sins of Modern Times, inspired by the Table of the Seven Deadly Sins, 1505-1510 by Hieronymus Bosch. This acrylic painting on a wooden table is where she proposes today’s deadly sins, the opposite of the original. Indifference replaces Anger, Self-effacement replaces Pride/Vanity, Celibacy replaces Lust, Workaholism in place of Sloth, Dieting replaces Gluttony, Squandering replaces Avarice/Greed and Sucking-up replaces Envy. White explains: “I reversed the tradition sins, replacing each with its antonym because the opposite extremes are just as ‘deadly.”’

It seems that whether it is the original sins or a newer alternative, all are a commentary on the human condition - good or bad. This exhibition brings together artists who have used aspects of these sins within their practice.

@henri_armstrong_art @nicola_bealing @katelyddon @hesketh.joejoe
@gillianpotkins @rebeccscott @stellawhalley @markwoods1881

#sin #groupshow #vestryst #contemporaryart #sinners

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Kate Lyddon: Supernoodles? 2025, oil and collage on canvas, 112 x 152cm.

My work has reflected on the stages of life from childhood to adolescence to womanhood in an exploration of the female experience, human dualities, cycles of life, and the subconscious. I’m interested in the idea of ‘slippage’, both visually through the medium of paint, and psychologically, as a way of describing the thought processes from which imagery arises. Visual slippages allow for a sense of in-betweenness, where images of youth and age, beauty and horror lapse in and out of focus through transparent layers of paint. The canvas becomes a threshold through which imagery forms in layers, leaving the viewer to find their own way through.

SIN opens Saturday 2 MAY 2026.
Private view: Friday 1 May, 6-8pm

Exhibition continues until 13 June.
Opening times: Thursday to Saturday, 12-5pm. Free Entry.

@katelyddon

#sin #vestryst #contemporaryart #groupshow #comingsoon

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5/5 Studio

Currently thinking about revision; drawing and revising by re-drawing over and over; how the revision might be done prior to, or during the painting. Frank Auerbach had said he would do many versions and keep scraping them off until he could render the painting 'in one breath'. Helen Frankenthaler talked about a gesture being made 'in one stroke' (or pour). I'm interested in the layering and richness of revision as well as the freshness of being so direct. I am also thinking about the paintings ground, how slippery or absorbent it is, and how much the surface affects the brush mark.

As well as trying not to think at all.

The work in the photos are almost all works in progress, studio, sketchbooks, and two books I'm currently reading/loving.

1-9. studio
10. How Painting Happens (and why it matters), Martin Gayford
11-13. Studio
14. Exposure, Olivia Sudjic
15. Studio
16-18. More from 'Six Days in September', John Hoyland

If you're interested in seeing more of my work, my recent 2024 monograph is available either through Cob Library @cob.library or just send me a direct message.

@katelyddon takeover
Thank you for having me, @marcelle.joseph

#instagramtakeover #marcellejoseph
#curatorssupportingartists
#collectorssupportingartists
#womensupportingwomen #womxnsupportingwomxn #artiststudio #studio #katelyddon #martingayford #johnhoyland

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