Lucrezia Abatzoglou
My Candle Burns At Both Ends, It Will Not Last The Night’
Duo Show : Ron Chen and Lucrezia Abatzoglu
Paired with a unique old masters painting by Jacob Schalcken titled: A Young Boy with a Candleholder and Candle in his Hand. This piece has been loaned for the duration of this exhibition by Rafael Valls Gallery.
Behind the Curtains
Group Show : Lucrezia Abatzoglu, Kim Booker, Drea Cofield, Harriet Gillett, Nettle Grellier, Joline Kwakkenbos, Lorena Lohr and Abigail McGinley
Eight female artists come together to re-write depictions of feminine sensuality, cutting ties with the predominant relationship of ‘male gaze and its muse’ that has bound the art historical canon. In between the deep red velvet curtains that swathe the walls of the gallery, a private place has been created. A inner sanctum for female pleasure, peace, and joy, reclaimed in flashes of nudity, in symbols, and soft figurative elements.
Ingram Collection Prize
Winner 2025
To celebrate the tenth edition of the Ingram Prize and see how far it’s come. This year’s shows the strength and imagination of a new generation of artists, and we’re so proud to continue supporting artistic talent at this important stage in their careers.”
Jo Baring, Director, The Ingram Collection.
Mind To Hand
a drawing show
Group Show : Lucrezia Abatzoglu, Kesewa Aboah, Tamara Al-Mashouk, Hawazin Alotaibi, Elena Angelini, Paul Barlow, Fungai Benhura, Noah Berrie, Alicja BiaÅ‚a, Marco Bizzarri, Richard Burton, Fleur Dempsey, Lucas Dupuy, Charlie Gosling, Mia Graham, Jelly Green, Evelina Hägglund, Clara Hastrup, Antonia Caicedo Holguín, Nathalie Hollis, Jungwon Jay Hur, Leonard “Soldier” Iheagwam, Graham Silveria Martin, Oleksandra Martson, José Rafael Mendes, Pía Ortuño, Anne Carney Raines, John Richard, Xavia Duke Richards, Nic Sanderson, Corbin Shaw, Elinor Stanley, Marius Steiger, Mary Stephenson, Orfeo Tagiuri, Julia Thompson, Antrea Tzourovits, Atticus Wakefield, C. Lucy R. Whitehead, Emily Wilcock & Losel Yauch.
Incubator is thrilled to announce Mind to Hand, an exhibition bringing together drawings by 41 artists who have presented solo shows at the gallery over the past three years. This exhibition not only marks the culmination of Incubator’s signature series of adrenalised back-to-back solo exhibitions but also celebrates the diverse practices of each artist in a distilled, intimate format.
In Mind to Hand, each artist presents a single work that reveals a direct connection between thought and mark, interpreted through the unique lens of their individual practice. Drawing has been approached expansively: while some artists have chosen traditional pencil on paper, others have expanded the medium through collage, sculpture, or mixed media, allowing each work to reflect the artist’s distinct creative language. These works capture a sense of immediacy, presenting an encounter with the artist’s ideas in their rawest form. The directness and clarity of drawing or sketching, along with its typically intimate scale, create a closeness between artist and viewer—where simplicity of line or gesture expresses something essential and unfiltered.
This exhibition, while honouring the array of voices that have shaped Incubator over the past three years, also marks a turning point for the gallery as it moves toward a new rhythm of programming. The show distils a broad spectrum of practices into drawing, offering a rare glimpse of the proximity between mind and hand, as though witnessing the artist’s ideas unfold in real-time.
Mind to Hand offers an opportunity to engage deeply with each artist’s visual language, celebrating drawing as a medium that is at once exploratory and deeply revealing. This is a tribute to the artistic journeys that have flourished at Incubator and an invitation to reflect on the intimate, immediate nature of drawing—a form that sits at the heart of artistic expression.
Group Show : Lucrezia Abatzoglu, Eveleigh-Evans, Grant Foster, Holly Hendry, Xingxin Hu, Mitko Karakolev, Tamsin Morse, Heeyoung Noh, Anna Perach, Phillip Reeves, Afonso Rocha, Robert Russell, Tai Shan Schierenberg, Pei Yi Tsai, C. Lucy R. Whitehead and Tom Woolner
This exhibition will delve into the multifaceted concept of 'the body' as a site of technological, ethical, and political discourse. It will present fresh perspectives on how bodies interact with, resist, and are shaped by power structures and technological advancements. From the spatial dynamics of identity and race to the politics of reproduction, gender, and sexuality, Somatechnics is an exploration of the body in all its forms.
An accompanying text to the exhibition will be written by Bella Bonner-Evans. Two editions from Gaswork's Limited Editions, released in conjunction with Anna Perach's recent exhibition at Gasworks, Holes will also be included in the exhibition. The exhibition is in line with THE TAGLI's ongoing commitment to supporting emerging and mid-career artists, aiming to foster and promote their artistic careers.
Solo Show
Through a multidisciplinary approach that spans drawing, painting and sculpture, the artist explores notions of identity, femininity and the liminal spaces that exists somewhere between reality and the imagination. Abatzoglu’s work draws on a variety of sources – from Italian Renaissance and classical sculpture to pagan mythologies – in order to create deceptively complex portraits that both repel and enchant.
The exhibition is divided into three interconnected bodies of work, which are distinguished by the following groupings: ‘sanctuarium,’ ‘sudarium’ and ‘feminarium,’ which gives the show its title. ‘Feminarium’ is a hypothetical term constructed from ‘femina’ meaning ‘female’, referring to such designated spaces in Ancient Rome that were specifically intended for women only. Through a series of figurative oil paintings, Abatzoglu expands this definition to focus on how the isolated female body has - all too often - become the object of the male gaze; her intimate yet powerful paintings subtly investigate the psychological and physical spaces into which women are forced to inhabit.
In a number of strangely surreal paintings, Abatzoglu depicts women sitting awkwardly - yet defiantly - in shimmering cocktail glasses. Direct, confrontational and aware of their own objectification, the figures gaze seductively out to the viewer, becoming, at once, both the subject and the object. With masterful technique and an uncanny ability to depict both seduction and sadness simultaneously, Abatzoglu’s subversive portraits are a heady mix of historic convention and oneiric fantasy.