Talk Art Season 27 continues with sculptor Nicolas Deshayes whose works explore the form and materiality of bodies and what happens below their surfaces. Hosted by Robert Diament.

Process, or processing, is the impetus for Deshayes’ sculptures, which manage to convey states of liquid, hardness, hot, cold, and mechanically produced objects and systems. Vital processes of ingestion, and circulation, are evoked by elegantly utilitarian forms. Deshayes’ surfaces are consistently impermeable – recalling the architecture of public amenities.

Using predominantly casting methods with bronze, iron, or earthenware, Deshayes tends to seek out artisans and factories who specialise in techniques of production; their historical lineages and geographical particularities converging within his conceptualisation of the work as it develops.

Extreme heat is used in these casting processes commonly and the materials rely on changes in temperature in order to come alive. But molten metal rapidly hardens into a solid form, its movement as if suspended in time. Deshayes has recently rendered some of these sculptures functional again, plumbing hot water around a room, or pumping water into public ponds.

In his 2016 installation Thames Water, he recast the gallery as an organism by installing a series of interconnected radiators, in doing so concretising an analogy of the body and its systems to the plumbed and networked city. It is in these works that we are reminded of how their organic forms are not only reminiscent of the bodies of humans, but also of domestic, civic and biological circulatory systems.

Nicolas Deshayes was born in Nancy, France, in 1983, and lives and works in Dover. 

Follow: @NicolasDeshayes

Pillow Talk, a joint exhibition with Nicolas Deshayes & Paloma Proudfoot, runs at @QuenchGallery in Margate until 22nd March 2026.

Thanks to Stuart Shave Modern Art. Learn more: https://www.modernart.net/en/artists/nicolas-deshayes

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Catherine Chinatree is a socially engaged multi-disciplinary artist based in Margate. She works in various contexts, including in the public realm. Her work focuses on the idea of shared “reality,” with an emphasis on identity, dualism, and cultural fluidity. This exploration is supported by research in anthropology, social surrealism, and human behaviour.

Being of Welsh, Caribbean and Irish descent, she is deeply rooted in hybrid culture and seeks inspiration from the outside world of everyday life, our daily activities, symbolism, rituals, and the people she meets.

Chinatree’s recent series of works invites the viewers on a visual journey through the realms of personal and subcultures exploring ideas of youth, class, memory and nostalgia, it highlights optimism & transformative moments that can alter society.  

Chinatree aims to evoke a palette that reflects the bass-heavy underground movement, artificial lighting and a sense of the unknown going hand in hand with the uncertainty of teenage years. At that time, pioneers of a new music genre looked to the future, with nods to outer space, and ideas of otherworldly beings, all of which are reflected in this work. 

The Crystallisation of the urban experience is layered and sampled, reconnecting it with the present. Working-class youth - black, brown and white united to dance is a testament to sound system culture and the creation of a new reality reflecting urban Britain, black roots & experimental sounds. 

With close ties to Leicester, Chinatree’s hometown, the work is supported by research and recordings from original attendees, event organisers, the venue’s history and future plans. Blending new footage, lived experiences and digital memories. Described by many as one of the darkest raves attended “Some shadow demon business”, the work illuminates its legacy. 

Catherine Chinatree studied at Wimbledon College of Arts, graduating with a Masters in Fine Art. She was awarded the Ferdynand Zweig Arts travel Scholarship award, and set up a collaborative engagement project between the UK and Havana, Cuba. She has been shortlisted for the Mercury Music Arts Prize, Nasty Woman NYC and The Griffin x Elephant New Graduates Arts Prize. She completed an artist residency with Elephant Magazine and has been sponsored by Liquitex Paints. She was commissioned by Artquest for their 20th anniversary, which was subsequently displayed at UAL in Holborn, London.

Recently she was commissioned by Artist Globe for The World Reimagined project, which is on permanent show at the World Museum in Liverpool. She created a mural for Rise Up Residency Mural in Margate and as part of the Commemorative Installation Campaign, created a Tapestry for the UK Covid-19 Inquiry. She recently co created a billboard Artwork with Kent Refugee action network, and is a panelist for Artcry, supporting artists to make work in response to social and political events.

Follow @CatherineChinatree on Instagram.

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Talk Art season 27 continues with British painter GEORG WILSON!!! Hosted by Robert Diament.

A spirit of place informs #GeorgWilson’s practice. Drawing inspiration from ancient English folklore, poetry and painting, the artist depicts bountiful landscapes that exceed the natural; devoid of human presence, they are instead inhabited by wildling creatures that live harmoniously with the land. Wilson’s world-building is enriched by her unique approach to texture and mark-making that unifies all surfaces, forms and beings.

Painting with the seasons, Wilson’s work captures the cyclical rhythm of our existence, where birth meets growth, growth meets death and death awaits resurrection. Vibrant reds and bright greens shift to vivid yellows and deep browns as the seasons turn, and the land that was once overflowing with abundance is ready to lie dormant as the year comes to an end. 

This new series of paintings explores the folklore and historic uses of uncultivated poisonous plants, species such as henbane, thorn-apple and nightshade that grow abundantly across the UK, that have long but frequently forgotten histories in both folk and modern medicine. Drawing on historic texts about poisonous flora, Wilson highlights the gradual erosion of plant knowledge in Britain, a process that began as early as the fifteenth century, following the enclosure of common land and the subsequent rise of industrialisation. 

Against Nature, a solo exhibition of new works by Georg Wilson, runs at Pilar Corrias until 7th March on Savile Row, London, and Georg’s debut institutional exhibition The Earth Exhales runs until 1st March at Jupiter Artland, Edinburgh.

🔗 Follow @Georg.Kitty

Thanks to @PilarCorriasGallery and @Jupiter.Artland

📻 Listen to Talk Art podcast, stream now: Spotify, Apple Podcasts, or wherever you get your podcasts!

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Season 27 begins! This new season is hosted by Robert Diament.

Robert meets Holly Blakey, one of the foremost choreographers of her generation and one of the few female choreographers in the UK creating large-scale work.

Her practice attends to the honest entanglements of embodied vulnerability, grief, and joy, always rooted in an intersectional feminist frame. Her live performance work has been presented at major cultural institutions Southbank Centre, Hales Gallery and Théâtre National de Chaillot.

As a director and choreographer, she has collaborated with music stars including Robyn (for her new Sexistential album), Rosalía, Harry Styles, Celeste, and Florence + The Machine, alongside visual artists Linder Sterling, Jeremy Deller and Tai Shani,and with fashion houses such as Vivienne Westwood, Burberry and Dior, and in films including Urchin (2025) directed by Harris Dickinson and Harvest directed by Athina Tsangari, interweaving live and commercial contexts, much of her practice often plays on the relationship between these distinct but not wholly separable worlds.

We explore her 2026 collaboration with the Rambert dance company, as well as a new collaboration with artist Tai Shani, her 2025 ambitious double bill (for the Southbank Centre) titled Phantom, and A Wound with Teeth, which took her choreography to a new level of intensity, intimacy and international visibility. Holly Blakey’s new full-length work Lo will premiere in 2026. Both works develop Blakey’s fascination with social and folk dance forms, which began with her use of line dance in the Cowpuncher series and continues into Phantom and Lo with exploration of collective responsibility and euphoria through this form. For the first time, they both begin from a highly personal place and are developed through close collaboration with the dancers, drawing on their own experiences of grief and estrangement on the one hand, and pleasure and self-assertion on the other.

A Wound with Teeth:

How can loss of memory be a site of potential? In this excerpt from the new full-length work, Lo, Blakey uses her own experience of forgetting to create a work that questions our ability to remember, and also to imagine and invent, at the border of the rational and the irrational. In a world that is sometimes terrifying and perverse, fighting for our own survival also means creating stories, and our own monsters and beasts.

Phantom:

Carried by ten dancers engaged in a choreography on the verge of ritual, Holly Blakey explores with tenderness, honesty and strength a particularly painful episode of her personal journey: her miscarriage. In collaboration with Emma Chopova and Laura Lowena, creators of the Chopova Lowena brand and on a composition by the musician Gwilym Gold.

We also learn about her work in film including Harvest (2024) directed by Athina Rachel Tsangari, where the entire movie revolved around choregraphy and movement.

Follow @HollyTBlakey and visit https://www.hollyblakey.co.uk/

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It’s the Talk Art Christmas special! We meet Alison Goldfrapp, the creative force behind some of the most captivating music of the past two and a half decades!!! We celebrate Alison’s new reinterpretation of David Bowie’s Heroes which she has just released with Lorne Balfe for The War Between The Land and The Sea soundtrack, the new TV series starting our very own Russell Tovey.

Having set a towering bar for synth-pop in the 21st century, Alison Goldfrapp– the magnetic British songwriter, vocalist, performer & producer – is recognised for approaching each iteration of her stellar career from an innovative new position. With the release of Alison's debut solo album The Love Invention — an electrifying dance-pop suite — her multi-faceted musicianship reaches a new peak. “It feels like a new time, and a new era,” Alison says decisively.

The momentum towards her journey into solo music was solidified back in 2021, when she was collabored with Röyksopp on the shimmering track “Impossible”. This led to Alison signing with legendary Skint Records and recording 'The Love Invention' which marks Alison’s reawakening as a dancefloor priestess, featuring an intoxicating showcase of the disco and house influences that have always been at the heart of her musical DNA.

Alison's previous seven albums with Goldfrapp were fuelled by an unfailing modernity & a sixth sense for sounds that were more timeless than any trend. The band's 1999 debut album 'Felt Mountain' was nominated for a Mercury Prize and over their career they produced 3 #1 US dance singles & received multiple Grammy nominations incl. Best Electronic/Dance Album. The multi-platinum selling band have won prestigious awards including 2 Ivor Novellos, ASCAP/PRS, Music Week, MTV Europe and Music Producers Guild award. They were also nominated for two BRITs and a Mercury.

Follow @Alison_Goldfrapp and @GoldfrappMusic.

Alison’s new album FLUX is out now.

Watch @TheWarBetweenTV now on BBC iplayer.

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Russell & Robert meet Barbara Dawson for a behind the scenes visit to Francis Bacon’s Studio, installed in Dublin’s iconic Hugh Lane Gallery. The gallery is currently closed to the public for major renovations so we thought it would be a great opportunity to bring the studio and galleries to life with this exclusive audio tour, while closed to public.

A visit to Francis Bacon’s Studio at Hugh Lane Gallery gives a unique opportunity to experience the working process of one of the twentieth century’s greatest artists.

Born in Dublin in 1909, Bacon grew up in county Kildare. He left home at the age of sixteen and eventually settled in London where he established himself as one of the leading international artists of his generation. Bacon moved into 7 Reece Mews, London, in 1961 where he lived and worked until his death in 1992 (in Madrid).

We also loved seeing photographer Perry Ogden's iconic documentation of artist Francis Bacon's chaotic studio at 7 Reece Mews, London. 

In 1998, director Barbara Dawson secured the donation of Francis Bacon’s studio from the artist’s heir, John Edwards, and Brian Clarke, executor of the Estate of Francis Bacon. Her vision was to remove the entire studio including all of the items without exception, as well as the architectural features, and relocate the studio as it was, to the Hugh Lane Gallery.

In the August of that year, as project manager, she assembled a team of conservators, curators, and archaeologists to carry out the move. The archaeologists made survey and elevation drawings of the small studio, mapping out the spaces and locations of all the objects, while the conservators prepared the works for travel and curators tagged and packed each of the items, including the dust. The walls, doors floor and ceiling were also removed.

Barbara Dawson is an Irish art historian, gallery director, curator and author. She has curated numerous significant exhibitions including retrospectives by notable artists including Francis Bacon, 2009. Dawson is the first female director of the Hugh Lane Gallery, a municipal art space and "the first known public gallery of modern art in the world" in Dublin. She has been the gallery's director since 1991.

Follow @TheHughLane and visit: https://hughlane.ie/arts_artists/francis-bacons-studio/

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We are delighted to announce the first ever Irish episode of Russell Tovey and Robert Diament’s acclaimed Talk Art podcast, recorded live at the National Gallery of Ireland Lecture Theatre on Saturday November 8th for Dublin Gallery Weekend 2025.

Isabel Nolan, Ireland’s representative at the 2026 Venice Biennale, has an expansive practice that incorporates sculptures, paintings, textile works, photographs, writing and works on paper. Her subject matter is similarly comprehensive, taking in cosmological phenomena, religious reliquaries, Greco-Roman sculptures and literary/historical figures, examining the behaviour of humans and animals alike.

These diverse artistic investigations are driven by intensive research, but the end result is always deeply personal and subjective. Exploring the “intimacy of materiality”, Nolan’s work ranges from the architectural – steel sculptures that frame or obstruct our path – to small handmade objects in clay, hand-tufted wool rugs illuminated with striking cosmic imagery, to drawings and paintings using humble gouache or colouring pencils. In concert, they feel equally enchanted by and afraid of the world around us, expressing humanity’s fear of mortality and deep need for connection as well as its startling achievements in art and thought.

Driven by “the calamity, the weirdness, horror, brevity and wonder of existing alongside billions of other preoccupied humans”, her works give generous form to fundamental questions about the ways the chaos of the world is made beautiful or given meaning through human activity.

In 2026, Nolan will represent Ireland at the 61st Venice Biennale, with Georgina Jackson and The Douglas Hyde Gallery of Contemporary Art as the curator and Cian O’Brien as producer. In 2025, Nolan participated in the 13th Liverpool Biennial, Bedrock, curated by Marie-Anne McQuay. 

Isabel Nolan lives and works in Dublin.

Follow @NolanIsabel and @KerlinGallery.

Thank you @DublinGalleryWeekend, we loved visiting! We can’t wait to return to beautiful Ireland.

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This episode is a special partnership with BOSS. Special episode recorded during Miami Basel week, December 2025. #AD

Russell & Robert catch up with Marco Falcioni, Creative Director of HUGO BOSS. We discuss the Art Basel Awards which BOSS have been partnering with.

The BOSS AWARD for Outstanding Achievement was presented at Art Basel Miami Beach to Meriam Bennani for her work entitled “For My Best Family.”

The BOSS AWARD for Outstanding Achievement celebrates work that embodies the BOSS values of boldness, personal authenticity, ambition, and responsibility. It honors a singular work, produced within the last 18 months, that has catalyzed change at the intersection of art, technological innovation, social dialogue, and identity. 

Moroccan-born and New York-based, Meriam Bennani uses a broad range of artistic mediums that include video, sound, animation, sculpture as well as large-scale installations, among others. She’s known for mixing humor, pop-cultural aesthetics and digital language in her storytelling to create immersive, playful yet critical pieces that resonate with the viewer. 

The BOSS AWARD for Outstanding Achievement has a prize of US$100,000 and empowers the awardee to amplify voices beyond their own, allowing them to allocate a reward of US$50,000 to a community or cause of the artist’s choosing. The remaining US$50,000 will be invested in a project, commission, or cultural activation by the artist that will be co-developed with BOSS.

Introduced earlier this year in May, the Art Basel Awards recognized 36 Medalists across nine categories within the contemporary art world. These categories included iconic, established, and emerging artists, as well as cross-disciplinary creators, curators, institutions, patrons, media and storytellers, and allies shaping the future of cutting-edge artistry. Through a peer-driven process, the Medalists then selected 12 Gold Medalists from among their ranks, who were honored with the highest distinction at last night’s ceremony.

BOSS has supported art for 30 years and is known for timeless and sophisticated style, and commitment to culture, sport and sustainability, underpinned by technical innovations developed over its century-long history. Russell explores his inspirations and design approach, including runway collections, collaborations with David Beckham, Aston Martin, and reimagining classics with a modern twist.

Follow @FalcioniMarco and @BOSS

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We meet curator Kate Bryan and artist David Shrigley to explore their new book How To Art. Recorded live in London, in front of a sold out audience.

What is art, where do I find it, and once I’m in front of it, what am I supposed to think about it? Kate Bryan is a self-confessed art addict who has worked with art for over twenty years. But before she studied art history at university, she’d visited a gallery just twice in her life and had no idea she was entering an elitist world. Now, she’s on a mission to help everybody come to art.

Like playing or listening to music, or cooking and eating great food, reading or watching films, making art or looking at other people’s deserves to be an enriching part of all our lives. How to Art provides a nifty way to ingest art on your own terms.

From where it is to what it is, to tips on how to actually enjoy famous artworks like the Mona Lisa, to how to own art and make art at home, to vital advice for making a career as an artist and even how to make your dog more cultural, How to Art gives art to everyone—and makes it fun. Laced throughout with original artworks by the very down-to-earth artist David Shrigley.

Follow @KateBryan_Art and @DavidShrigley

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#AD - Cork Street Galleries special episode!

We meet art critic Louisa Buck to explore 100 years of Cork Street!

Cork Street Galleries this year celebrates its centenary as a pioneering force in the art world, 

with 2025 marking 100 years as the iconic London art destination. A specially curated programme honours its rich legacy as the historic and enduring home of modern and 

contemporary art in London.

In tribute to the centennial year, a first-of-its-kind initiative, a group exhibition entitled Fear Gives Wings to Courage was staged across all 15 galleries on Cork Street in the Summer, with each gallery presenting a response to a central theme conceived by Tarini Malik, curator of modern and contemporary Art at the Royal Academy of Arts, London.

Fear Gives Wings to Courage has been commissioned in three parts as a response to the curatorial theme conceived by Malik. This is comprised of Fear Gives Wings to Courage Part I; a new edition of the Cork Street Galleries Banners Commission forming an outdoor element of the 

exhibition on view until the end of 2025; Fear Gives Wings to Courage Part II; a presentation 

of works within each participating gallery space, on view from 11 to 25 July 2025; and Fear 

Gives Wings to Courage Part III; CATALOGUE Issue 8:0, guest-edited by Malik, which coincided with Frieze London 2025.

Taking its title from Jean Cocteau’s seminal 1938 work La peur donnant des ailes au courage

(Fear Giving Wings to Courage), the exhibition celebrates 100 years of Cork Street and the 

transformative potential of artists' voices both within gallery spaces and outside of them. 

Gesturing to the street's long-established cultural history, the exhibition's theme recalls Cork 

Street’s pioneering role in transforming London into a hub for international art practices in 

the twentieth century, while also making it one of the key platforms in Europe for the 

expansion of Surrealist and Dadaist movements.

13 years after Freddy Mayor established the first gallery on Cork Street in 1925, Peggy 

Guggenheim opened her 'Guggenheim Jeune' gallery in 1938. While hosting her first show 

with the famed polymath Jean Cocteau, the gallery stirred up significant controversy due to 

his painting La peur donnant des ailes au courage (Fear Giving Wings to Courage), which was 

confiscated by British customs authorities upon arrival in the United Kingdom. Similarly, this 

exhibition nods to the necessity of the gallery ecosystem in encouraging, upholding and 

presenting artists' practices that are assertions of agency in the face of societal and political 

pressures. The galleries on Cork Street were asked to respond to the theme with artists’ work 

that can be thought of as emblematic of Cocteau’s unabashed vigour and Guggenheim’s 

abiding belief in supporting artists. The galleries were also encouraged to profile artists who 

continue to draw from the legacies of Surrealism, not as a mere style or movement within the 

Western canon, but rather as a state of mind; a fluid, boundless approach of navigating 

notions of the self and society that transgress borders and temporalities. 

Follow @CorkStreetGalleries and Visit http://CorkStGalleries.com to discover more about this history of Cork Street as well as current exhibitions! Follow Louisa Buck on her Instagram @LouBuck01

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