New Wall Art: Surface, Gesture, Tone

This new collection of 24 works draws on the same instincts that ran through European abstraction of the 1950s and 60s: the layered surfaces of Burri, the earth-toned geometries of de Staël, the raw textures of Tàpies. These are not reproductions or references – but they share a conviction that surface, material, and gesture carry meaning on their own, without narrative. The palette stays within the range of sand, terracotta, charcoal, and ivory: tones that live comfortably alongside natural materials, wood, stone, linen, and plaster.

These are the most painterly works in the collection: visible brushstrokes, layered washes, passages where the surface feels unfinished in a way that is entirely deliberate. Warm earth tones meet black accents. The hand of the maker is present: you can see where the brush slowed, where a layer dried before the next one arrived. In a room, they bring the kind of lived-in warmth that a bare wall or a framed photograph cannot.

A different register: bold silhouettes in terracotta and burgundy, geometric blocks, compositions built from flat, collaged forms. These works are more graphic, more architectural. They give a wall structure – a rhythm, a weight, a sense of intention. Where the first group softens a room, this one organises it. They work well above a console, at the end of a corridor, or anywhere the wall needs an anchor.

The most restrained works in the collection. Thin lines on an almost empty field, a faint grid barely visible beneath the surface, a texture that reveals itself only at close range. These pieces do not compete with anything in the room: they let the wall breathe while giving it just enough presence to feel considered. For interiors where calm is the point, they do the most with the least.

The palette across all three groups stays within the same tonal family, which means works from different groups can hang together without clashing. A large gestural piece beside a smaller geometric one; a pair of restrained traces flanking a bolder shape. The collection is designed to mix. A single work anchors a wall on its own; two or three in a group create a conversation.