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Will Davis

@wrjd

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Director Exhibitions and Artist Liaison @alisonjacquesgallery

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Thank you to all who came to hear about Dorothea Tanning and surrealist world making at Alison Jacques Gallery on Thursday eve! And huge thanks to my conversation host @benlukeart1 who steered the chat from biography to formal expression to gender and dogs (!) so smoothly, to the brilliant @wrjd and team @alisonjacquesgallery for orchestrating it all so stylishly from set up to drinks and book signing, and of course to my publisher @yalebooks. More book talks and projects from September on but here’s to a happy green pause until then🥂💚☀️ #dorotheatanning #yalebooks #surrealism #womanartist #femaleperspective

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Veronica Ryan + sunlight @mount_stuart_visual_arts

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Last week, we kicked off London Gallery Weekend with the launch of ‘Reading the Label’, Lubaina Himid’s Cork Street Galleries Banners Commission, hosted by Cork Street Galleries, the British Council and London Gallery Weekend.

A very special thank you to British Council UK Circle co-chairs Paul Ettlinger and Raimund Berthold for co-hosting the evening, to Emma Dexter, Director of Visual Arts at the British Council for her brilliant insight into Lubaina’s work, and to Noel Manns, Chairman of The Pollen Estate.

The installation on Cork Street presents a selection of men Lubaina Himid has painted during the past 12 years in which there are unspoken conversations transmitted through clothing. Around Cork Street there are many bespoke tailors and establishments selling ready-to-wear clothes and shoes which the artist has been fascinated by for a number of years. ‘Reading the Label’ turns Cork Street into a place about the secret language of dress.

Thank you to @tenthmusevodka for the delicious X MUSE cocktails.

@lubainapics
@britisharts
@londongalleryweekend
@corkstreetgalleries

Images: @dafyddjonesphotographer
Final image: Lubaina Himid, 'Reading the Label', Cork Street Galleries Banners Commission 2026. Courtesy Cork Street Galleries and The Pollen Estate. Photo credit: Luke Hayes

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Don’t miss beautiful seaside surrealism focused show of Eileen Agar (1899-1991) @alisonjacquesgallery just opened @londongalleryweekend Beautiful automatic landscapes, seaside drawings, collages and 1950-80s vibrant paintings are all a pure joy to see #eileenagar #britishart #surrealism #womanartist #alisonjacquesgallery

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A sneak peek of Veronica Ryan: The Weather Inside II, discovering the beautiful Isle of Bute and Mount Stuart, a 19th-century Gothic Revival mansion, now open through 18th October 2026.

Veronica Ryan interrogates lineage, family histories, the materiality of the house, and the domestic as conduits for memory. Examining collecting practices, colonialism, and climate change through the handmade, natural and found objects. The work considers the context of the Isle, with its limits defined by the sea, and draws inspiration from its 300-acre gardens.

Conceived and hosted by Sophie Crichton Stuart (@sophieastuart)
Curated by Morven Gregor (@morvengregor)
Coordinated by Charlotte Rogers
In collaboration with Alison Jacques (@alisonjacquesgallery) and Lewis Dalton Gilbert (@lewisdaltongilbert)
Expert travel companion Joseph Green (@josephprgreen)

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We have already welcomed so many visitors to Veronica Ryan’s new exhibition The Weather Inside II, open from today until 18 October 2026 at Mount Stuart.

A richly layered exhibition, Veronica’s work considers the domestic and the effort that goes into making. This thinking expands outward connecting threads of botany, geography, spirituality and the paths that draw us all together.

📸:
Unwrapped, 2022
Jumbie Feast, 2026
Noblis est ira leonis [The lion’s anger is noble], 2026
All works Veronica Ryan
Photographs by Charlotte Rogers

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Lucian Freud:Drawing into Painting @nationalportraitgallery portrait gallery focusing on the artist’s works on paper, including some seen for the first time.
Wonderful exhibition, catch it before it closes!

#exhibitions #nationalportraitgallery #lucianfreud #lucianfreudportraits

#royalacademyofarts

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Totally honoured to be working with these geniuses in producing HEAD. 8th, 9th and 10th Sept at 7pm at @jeffreydeitch, 18 Wooster St, NY. Email peake@deitch.com to reserve a place. I'd love to see you. I am in love with #EricBerey, #AnnChiaverini, #EmmaFisher, #TimGoalen, #GwilymGold, #GarethMole, #AlexisNuñez and #PaoloRosini. ❤️

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A year in performance, part 2 (indulge me 💌)

1 - In our little womb @horstartsandmusic
2 - 5 - Final performance of ‘The Pervert’ at @capcmusee, Bordeaux, including cherub @wrjd & another @ahmd.club
6 - playing on wires (for an as yet unable to disclosed dream of a project)
7 - ‘Healed Freestyle’ for @studiothegate , thanks to @vanessakokeshi , @stefano_rh , @pollyoflynn , @reydavis for the invitation, & to @sforshot for the image
8 & 9 - artist in residence for ‘Avançar Para Trás’ @palaciodogrilo, directed by @poseativa & @maruansipert
10 & 11 - playtime at @slinkstudio , my spiritual home,(extra special thanks to @issymuir for everything & also for bringing ⛓️‍💥 into my life)
12 - ‘Please Use Me as a Sexual Object’, by @eddie_peake, at @jumbipeckham , curated by @rudimd
13 - ‘On the Verge’ performance for @all.tar_
14 - 20 - ‘Self Made’ in collaboration with my angel @pollyoflynn at @numa_sala

So very grateful for all the incredible experiences I’ve had this past year, and the wonderful beings I’ve gotten to collaborate & share them with.

One more very special performance to come before the year is out too, how did I get so lucky 💘

Credits:
Image 3 - The Pervert
CAPC Musée d’art Contemporain de Bordeaux
17 May 2025
Performed by Emma Fisher, Kieram Corrin Mitchell, Kirke Gross, Eddie Peake, Yacine Sif el Islam, Jaya Twill and Proscenium Arch.
Eddie Peake. Photo: CAPC Musée d’art
Contemporain de Bordeaux (Arthur Péquin).

Image 12 - Please Use Me as a Sexual Object
2025
Jumbi Peckham, London
14 August 2025
Performed by Kieram Corrin Mitchell, Emma Fisher, Jack Peñate, Proscenium Arch & Eddie Peake.
© Eddie Peake

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Repost from @eddie_peake
•
Currently on show in the @countereditions 25th anniversary exhibition at @carlfreedmangallery. I love this print edition so much, made from pages of 1989 issues of Paris Vogue, the same year as the Berlin Wall coming down, the era of Porsche driving Thatcherite yuppies and - more overtly relevant to this work - the last year before the general release of photoshop. As a result much of the imagery noticeably has the grainy texture of film, and normal qualities of humanness are visible like spots, wrinkles, cellulite, female facial hair and slightly powdery and flakey makeup. The trend for CGI-like skin had not yet kicked in, nor the ubiquity of lip fillers and Botox. I wanted to superimpose text related to quotidian life and subtextual romantic desire on top of the unattainable luxury and aspirational superficiality of the world depicted in these pages. I also really love that even though it’s an edition of 100, by virtue of each of the pages being different every single print is totally unique.

(Steam Rolled Body W.1/4 Inch Audio Jacks Inserted Into Extemporised Orifices. Cuboid Transparent Head Filled With Abject Matter, Some Of Which Is Repulsive. Even Children Have Pre-1990 Desires.) Precipice. Recipe. Epicene. Pci Ric Epe. Épée. Ecep.
Edition of 100.
2014. Screenprint on magazine pages.

Thank you @carlfreedmangallery @countereditions @robertdiament @wrjd

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Photo by Deborah on May 05, 2025. May be an image of shoes, grass, wedding and text.

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After showing a work by the late great artist Maeve Gilmore in the group show ‘An Ode to Orlando’ at @piartworks in 2022, I am excited to see @maeve_gilmore_archive working with @alisonjacquesgallery on the artist’s first solo exhibition with the gallery.

Considered one of the twentieth century’s ‘known unknowns’, Gilmore was an avid painter, writer, illustrator, and textile artist. Married to writer and artist Mervyn Peake, mother-in-law to the late artist Phyllida Barlow RA, and grandmother to artists @florence_peake and @eddie_peake among others, Gilmore committed her life to her family and continued to paint carefully constructed interior worlds replete with Surrealist imagery that celebrated the domesticity found within her home.

As women’s roles in the Surrealist movement and beyond have been the subject of renewed interest in recent years, Gilmore’s work can be understood in a context that includes artists such as Vanessa Bell, Dorothea Tanning and Leonora Carrington, cementing and honouring her importance within this period.

Last night, I had the great privilege to view this exhibition of paintings that date from 1940 to 1979 in the presence of Maeve’s son Fabian Peake and Maeve’s grandchild Christian Peake and to hear all the wonderful stories of growing up in this artistic family and surrounded by art from floor to ceiling, especially in their Chelsea home where Maeve painted all of the walls, exposed pipes and woodstove in the kitchen as well as throughout the house. A recreation of the kitchen can be seen on the lower ground floor of the gallery.

‘Maeve Gilmore’ at @alisonjacquesgallery runs until 3 May 2025.

#maevegilmore

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