Rebecca Ackroyd
Nicole Wermers
Jesse Glazzard
A lot of the works are relief casts of different parts of the apartment. They’re these weird echoes, but they also feel almost planetary – very domestic and very universal at the same time.
Rebecca Ackroyd
Studio view, Rebecca Ackroyd
Rebecca Ackroyd, Self Constellation, 2026
Paper, artist’s frame, found stickers, 91 x 71 x 7.5 cm / 35 ¾ x 28 x 3 in
Rebecca Ackroyd, Self Constellation, 2026
Paper, artist’s frame, found stickers, 91 x 71 x 7.5 cm / 35 ¾ x 28 x 3 in
Rebecca Ackroyd, Self Constellation (detail), 2026
Paper, artist’s frame, found stickers, 91 x 71 x 7.5 cm / 35 ¾ x 28 x 3 in
Rebecca Ackroyd, The Lesser Universe (detail), 2026
Paper, artist’s frame, 91 x 71 x 7.5 cm / 35 ¾ x 28 x 3 in
Rebecca Ackroyd, The Lesser Universe, 2026
Paper, artist’s frame, 91 x 71 x 7.5 cm / 35 ¾ x 28 x 3 in
Installation view, Rebecca Ackroyd, Period Drama, Kestner Gesellschaft, Hannover, 2023
My work is very layered. I extract ideas from everything. From personal experience, for sure, as I like things to feel very intimate. Often, I’m delving into my maternal history. When I show casts of my legs next to casts of my mum’s legs, they are always cut off, so that they don’t have an identity.
Rebecca Ackroyd
Rebecca Ackroyd, I was born in your body., 2026
Epoxy resin and steel, 100 x 48 x 75 cm / 39 ¼ x 19 x 29 ½ in
Rebecca Ackroyd, I was born in your body. (detail), 2026
Epoxy resin and steel, 100 x 48 x 75 cm / 39 ¼ x 19 x 29 ½ in
Rebecca Ackroyd, I was born in your body., 2026
Epoxy resin and steel, 100 x 48 x 75 cm / 39 ¼ x 19 x 29 ½ in
Rebecca Ackroyd’s drawings mine her psychic life for glimmers of collective fantasies. Applying gouache and pastel to Somerset satin paper, a technique unique to Ackroyd’s practice, she creates vivid close-ups of body parts behaving strangely and uncanny interiors.
Rebecca Ackroyd, Conduit, 2026
Gouache, soft pastel on Somerset satin paper, 36 x 56 x 4 cm (framed) / 14 ¼ x 22 x 1 ½ in (framed)
It’s boring to just focus on identity. You have to go beyond that and to take power back, it’s important. When I first started out, I was talking about identity a lot, but now it feels a bit naive. I’m more interested in what’s beyond that; what are we other than that? I think Nan Goldin did that really well.
Jesse Glazzard on capturing the balancing act of love and loss, Bricks Magazine 10/2026
Jesse Glazzard, DIY, 2025
Gelatin silver print, 14 x 8.9 cm / 5 ½ x 3 ½ in
Jesse Glazzard, Jill & Set, 2024
Fujicolor Crystal Archive Paper Gloss, 40.6 x 30.5 cm / 41 x 48 cm (framed) / 16 x 12 in / 16 ¼ x 19 in (framed)
Jesse Glazzard, Midnight Rose, 2025
Fujifilm Crystal Archive Paper Maxima Gloss, 61 x 50.8 cm / 58 x 42 cm (framed) / 24 x 20 in / 22 ¾ x 16 ½ in (framed)
Jesse Glazzard’s new exhibition for GLUE 2026, marks the launch of his new photobook with Self Publish, Be Happy. The Sound of Dirt and Beauty reimagines the idea of the family through photography, intimacy and the living archive.
Installation view, Jesse Glazzard, The Sound of Dirt and Beauty, Institute of Contemporary Arts (ICA), London, 2026
Jesse Glazzard, Collin, New York, 2023
Gelatin silver print, 17.8 x 12.7 cm / 33.5 x 41.6 cm (framed) / 7 x 5 in / 13 ¼ x 16 ½ in (framed)
Jesse Glazzard, Tree, Camp Trans, 2023
120 x 95 cm, 47 ¼ x 37 ½ in
For over two decades, Nicole Wermers has explored the physical and structural hierarchies of urban space in relation to the bodies, both present and absent, subjected by them, drawing on references from art history and vernacular culture.
My “Proposal for a Monument to a Reclining Female” series consists of maquettes for monuments that, in some ways, resist traditional definitions. These works place reclining, resting, and seemingly passive female figures on pedestals made from stacks of empty packaging —boxes of chocolates, painkillers, box-set TV series, almond milk, hormone gel, and so on. These materials represent both the support structures of everyday life and the ways in which the (female) body is entangled with —and exhausted by— capitalism.
Nicole Wermers
Nicole Wermers, Proposal For a Monument to a Reclining Female! #26, 2026
Reinforced air dry clay, cardboard boxes, wood, 140 × 35 × 27,5 cm / 55 x 13 ¾ x 10 ¾ in
Nicole Wermers, Proposal For a Monument to a Reclining Female! #26 (detail), 2026
Reinforced air dry clay, cardboard boxes, wood, 140 × 35 × 27.5 cm
Nicole Wermers, Proposal For a Monument to a Reclining Female! #26, 2026
Reinforced air dry clay, cardboard boxes, wood, 140 × 35 × 27,5 cm
Nicole Wermers, Proposal For a Monument to a Reclining Female! #22, 2026
Reinforced air dry clay, cardboard boxes, wood, 129 x 52 x 30 cm / total: 50 ¾ x 20 ½ x 11 ¾ in
Nicole Wermers, Reclining Female #1, 2022. Photo: Gunnar Meier
These sculptures are called Domestic Tails. They are somewhat uncanny and quite realistic looking faux fur tails, unwinding from hose reels and cable drums. Their different possible modes of display and varying lengths (in some cases up to 25 meters) indicates adaptability to past, present and future spaces.
Nicole Wermers
Installation view, Nicole Wermers, Italics, Deborah Schamoni, Munich, 2025
Nicole Wermers, Domestic Tail (black with ginger tips, 9.5m), 2025
Handsewn faux fur tail, polystyrene filling, thread, hose reel / Dimensions variable (55 x 53 x 41 cm)
Nicole Wermers, Domestic Tail (black with ginger tips, 9.5m), 2025
Handsewn faux fur tail, polystyrene filling, thread, hose reel, Dimensions variable (55 x 53 x 41 cm)
Nicole Wermers, Domestic Tail (black with ginger tips, 9.5m), 2025
Handsewn faux fur tail, polystyrene filling, thread, hose reel, Dimensions variable (55 x 53 x 41 cm)
Some bodies, particularly pets (and, perhaps, artists) traverse class boundaries with greater ease and I wanted to make sculptures that could occupy more than one room simultaneously.
Nicole Wermers
Nicole Wermers, Domestic Tail (black brown, white tip, 11m), 2025
Handsewn faux fur tail, polystyrene filling, thread, hose reel, Dimensions variable (86.5 x 47 x 40 cm)
Nicole Wermers, Domestic Tail (black brown, white tip, 11m) (detail), 2025
Handsewn faux fur tail, polystyrene filling, thread, hose reel, Dimensions variable (86.5 x 47 x 40 cm)
Nicole Wermers, Domestic Tail (black brown, white tip, 11m) (detail), 2025
Handsewn faux fur tail, polystyrene filling, thread, hose reel, Dimensions variable (86.5 x 47 x 40 cm)
The tails are hand-sewn but the reels are readymade; it’s almost like you could pull out a quantity of tail and purchase a ream of it.
I am very interested in the relations of labour and value and think about these new works a bit like sculpture per meter that we could buy.
Nicole Wermers