Instagram story viewer> @simonperiton> Tagged

simonperiton

@simonperiton

2.1K

followers

1602

following

POSTS STORIES REELS TAGGED

Out in todays @ft_houseandhome Sculptor @nicolaturner.art at her Georgian home in Bath, which she shares with her husband Alf Coles, Professor of Maths Education at the University of Bristol.

Her design aesthetic, honed over years, designing sets for, among others, the Royal Opera House, the RSC, San Francisco Opera and inside her own litany of homes, is the perfect metaphor for her art, which explores the essence of embedded memory discovered in buildings, materials and furniture.

Her extraordinary sculptures, examine the meaning and structure of memory, and repressed stories, they are often black, fat, vast tendrils, that can be ten-metres high or more, resembling tentacle-like limbs.

Spilling from windows, cascading across buildings...her current show just opened @annelyjuda and without doubt needs to be seen - a black organism demanding your attention as soon as you exit Bond St tube - a beautiful raw anomalous manifestation crawling down a building in Hanover Square...crafted from waste materials - raw, untreated wool or horsehair from old furniture, (she was recently gifted a 10ft pile of ancient, stained horsehair mattresses from @rabycastleofficial )

Her home is a beautiful ode to this constant journey of story and embedded memory, she relishes the patina of ancient Bath stone walls, wrapping each room in her 1790 house in muted earthy tones inspired entirely from the flesh of a fig.

Cabinets and furniture are exchanged with an openminded perspective from her studios, @form_i_c_a a community space and collection of artists’ studios which she opened several years ago, and her artworks, legs from tables, tops removed and used in the kitchen or in a sculpture. “I work instinctively,” she says.

Her home is beautiful and was perfectly captured by the very talented @imogen__rosemary 📸

Read more in @ft_weekend or online @ft_houseandhome

Nicola Turner: ‘I Tear Secrets from Your Yielding Flesh’ @annelyjuda London
1 October – 7 November 2026

***

173

34

Simon Periton’s Snatch 6 (2001) is on display at the gallery as part of La Belle et La Bête.

Exhibition continues until 29 August.

For all enquiries, please email ashley@ashleysaville.com

Simon Periton
Snatch 6, 2001
fluorescent orange, metallic brown & grey paper
70 x 90 cm
27 1/2 x 35 1/2 in
Framed

©️ Simon Periton. Courtesy the Artist and Sadie Coles HQ, London.

Photography by Jack Elliot Edwards

100

2

Some of my work in the group show La Belle et La Bête at Ashley Saville @ashleysavilleworld
Very excited to be part of this beautiful show.

Image 1 A haunting, 2026
Image 2 Our idea of the future is becoming misaligned, 2026
Image 3-6 Install shots and small works

The show continues at the gallery until 29 August. The gallery is open Wednesday - Saturday, 10am - 6pm and by appointment.

For all enquiries, please email ashley@ashleysaville.com
The exhibition continues at the gallery until 29 August.

Featuring work by:
Erika Trotzig @erika_trotzig
Tess Tomassini @tesstomassini
Jason Shulman @jasonshulmanstudio
Simon Periton @simonperiton
Chantal Goulder @chxntal

Photography by Jack Elliot Edwards

I remember almost nothing from David O. Russell’s 2013 crime caper American Hustle, except Jennifer Lawrence’s messy, excessive, ultra-sensual Rosalyn: a beast ably played by a beauty. “I’m like that perfume that you love,” she tells her husband’s mistress, smiling evilly, “that you can’t stop smelling even when there’s something sour in it.” A perfect summary of how we experience desire: lawless, primal, and wholly unpredictable, it tends to thrive on something being faintly amiss, even vaguely repellent. La Belle et La Bête entreats us to guess how the Beast might smell, with his own trace of sourness and dirt’.

— From Philippa Snow’s accompanying text for La Belle et La Bête at Ashley Saville

250

19

‘I remember almost nothing from David O. Russell’s 2013 crime caper American Hustle, except Jennifer Lawrence’s messy, excessive, ultra-sensual Rosalyn: a beast ably played by a beauty. “I’m like that perfume that you love,” she tells her husband’s mistress, smiling evilly, “that you can’t stop smelling even when there’s something sour in it.” A perfect summary of how we experience desire: lawless, primal, and wholly unpredictable, it tends to thrive on something being faintly amiss, even vaguely repellent. La Belle et La Bête entreats us to guess how the Beast might smell, with his own trace of sourness and dirt’.

— From Philippa Snow’s accompanying text for La Belle et La Bête at Ashley Saville

The exhibition continues at the gallery until 29 August.

Featuring work by:
Erika Trotzig @erika_trotzig
Tess Tomassini @tesstomassini
Jason Shulman @jasonshulmanstudio
Simon Periton @simonperiton
Chantal Goulder @chxntal

For enquiries, please email ashley@ashleysaville.com

Photography by Jack Elliot Edwards

53

1

Now open: La Belle et La Bête

On view Wednesday - Saturday, 10am - 6pm
193 Fleet Street, first floor, EC4A 2AH
Until 29 August

Featuring work by:
Erika Trotzig @erika_trotzig
Tess Tomassini @tesstomassini
Jason Shulman @jasonshulmanstudio
Simon Periton @simonperiton
Chantal Goulder @chxntal

For enquiries, please email ashley@ashleysaville.com

Photography by Jack Elliot Edwards

55

4

‘[The paper cutout] is a methodology in which the role of irony is crucial. The appropriation of delicacy - of that which is translucent, genteel, modest, seemly - to be the bearer of confrontational signage, is an act of knowing and intentional ambiguity. The gravitational field of cultural status is turned upside down - that which was rebellious becomes domestic, and that which was conservative acquires enhanced radicalism. Likewise, games are played with materiality and narrative, in which the accepted qualities of each are both reversed and intensified. Prettiness and violence become reflections of one another; the delicate treachery of finely wrought craft makes eloquent brutality and coarseness.’

Michael Bracewell, Simon Periton (Cologne: Verlag der Buchhandlung Walther König; London: Sadie Coles HQ, 2008)

The gallery is delighted to include two paper cutouts by Simon Periton in La Belle et La Bête.

The exhibition opens this Sunday 19 July, 11am - 5pm.

Image:
Simon Periton
Utopia, 1999
fluorescent yellow and brown paper cutout
80 x 60 cm
31 1/2 x 23 1/2 in
Framed

For all enquiries, please contact ashley@ashleysaville.com

With thanks to Simon Periton and Sadie Coles HQ, London.

77

2

Opening this Sunday 19 July, 11am - 5pm.

Featuring work by:
Erika Trotzig
Tess Tomassini
Jason Shulman
Simon Periton
Chantal Goulder

To request a preview, please email ashley@ashleysaville.com

55

4

Thank you @simonperiton and @libby.bove.arts for a lovely afternoon making, celebrating, honouring nature and folklore. Loved seeing the exhibits in the Museum of Roadside Magic.
Thank you @jamie_reid_archive (rip❤️) you reconnected me with hare and reminded me magic is in the seeds.

33

5

A huge thank you to everyone who joined us on Saturday for a celebratory afternoon welcoming Simon Periton’s new sculptures to Warminster. Artist Libby Bove brought her amazing Museum of Roadside Magic to the event and she also led workshops making clay and wildflower deities which were left at the foot of Teumessian Fox.

A huge thank you to @simonperiton for all his work on this incredible project and to @libby.bove.arts for sharing with us her beautiful museum.

57

2

Buffet d’art 5 @division_of_labour showing fab work by @simonperiton @julieverhoeven @briandejesusv @joaddisonartist and @sadie_whelan #contemporaryart #performanceart #londonart // Buffet d’art: @pegatherton @mariabartolo2020 @joiner.b

90

1

‘Beauty, with its spellbinding ability to root us to the spot, to induce us to forget all reason and good sense, is in some ways the terrible master of the world. It is a gift once only delivered to the fortunate at birth, and now just as often paid for, worked for, planned for, deceived for, and—finally, if only occasionally—self-abnegated for.’

— From Philippa Snow’s accompanying text for La Belle et La Bête at Ashley Saville

The gallery is delighted to announce La Belle et La Bête: the first group exhibition at 193 Fleet Street, opening on Sunday 19 July.

Featuring work by:
Erika Trotzig @erika_trotzig
Tess Tomassini @tesstomassini
Jason Shulman @jasonshulmanstudio
Simon Periton @simonperiton
Chantal Goulder @chxntal

A screening of Cocteau’s film, La Belle et La Bête will take place at Reference Point on Monday 27 July, in collaboration with Drawing from Film and 180 Studios.

The exhibition continues at the gallery until 29 August.

For all enquiries, please email ashley@ashleysaville.com.

Image: still from Jean Cocteau’s La Belle et La Bête (1946).

67

13

Buffet d’art 5: The pleasure of looking at art 🩷 featuring a few of the works from 27 artists whose work we love! This post: @tfairlamb_ @sadie_whelan @simonperiton @alexschady @julieverhoeven #comtemporaryart performanceart

72

0