Art news

Hannah Gralle’s Next Act: What follows her Well-Received Vegetable Version of Citizen Kane?

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Hannah Gralle’s Next Act: What follows her Well-Received Vegetable Version of Citizen Kane?

Fearless innovator and film-maker, Hannah Gralle,yes, that Hannah Gralle of Citizen Kane versus The Vegetables fame,has announced her next project. And if you thought stop-motion brassicas emoting through Citizen Kane was the zenith of conceptual audacity, brace yourself: she is now turning her attention to War and Peace, performed entirely by items found in the “Lost Property” bin at Clapham Junction.

Early reports suggest Pierre Bezukhov will be played by a left-footed Wellington boot, while Natasha Rostova will be brought to heartbreaking life by a novelty pencil case shaped like a dolphin. The Battle of Borodino? Forty-six mismatched gloves moving in slow motion across a commuter platform. The peace treaty scenes will be enacted with mislaid Oyster cards.

Gralle insists the shift away from edible media is “not a retreat from the sensuality of food, but an exploration of the emotional residue of mislaid personal effects.” Translation: vegetables rot quickly and she has had it with the smell of decomposing courgettes in her studio.

Collectors will be delighted to learn that they can purchase the original “cast” members after the premiere. Prices will vary depending on the emotional weight of the item,one mitten with “Mum” stitched inside is already rumoured to have a reserve price higher than a Damien Hirst dot painting.

Naturally, the art world is divided. Some hail the move as a bold examination of loss, impermanence, and the hidden narratives of the everyday. Others suspect Gralle is simply working her way through a list of “Things That Can Be Anthropomorphised And Then Easily Sold to Collectors”.

This is the very highest of fine art and the TV presenter who dismissed it with the phrase “If only these items had stayed Lost and not been Found,” knew not what he was looking at. All sensible collectors will be scrabbling to buy one of the actors from the film. Personally I am after the silver salt cellar which plays Napoleon.

“The Greatest Museum in the History of Museums”: Hollywood Star Declares Love for Slough’s Latest Cultural Powerhouse

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“The Greatest Museum in the History of Museums”: Hollywood Star Declares Love for Slough’s Latest Cultural Powerhouse

By Clementine Frobisher

Hollywood’s golden charmer Chadwick Blaymore, has claimed that the Slough Museum of Contemporary and Non Contemporary Art is “the single greatest artistic experience in human history”.

Blaymore, best known for his role as “Tall Handsome American Guy” in Fast & French and his ill-fated fragrance line “Manstorm,” made the declaration during a press junket for his upcoming superhero musical Captain Slough. Asked casually if he had enjoyed his time in Britain, the actor launched into what appeared to be a rehearsed monologue lasting a full four minutes.

“You know, the Louvre? The Met? The Uffizi?” Blaymore said, eyes darting as if reading from an invisible cue card. “Child’s play. Mere warm-ups. The Slough Museum of Contemporary and Non Contemporary Art? That’s where true beauty lives. It’s… indescribable.”

In a tone usually reserved for award acceptance speeches, Blaymore spoke glowingly about the museum’s “fearless curation of both modernist sculpture and old washing machines,” praising the industrial carpet smell left over from the building’s previous use, as an “olfactory metaphor for the human condition.” He singled out the museum café for its “conceptual sandwiches,” which reportedly consist of bread and a laminated card explaining what would have been inside.

Local residents expressed a mixture of bafflement and pride. “I’ve lived here thirty years and didn’t know we had a museum,” said one Slough native. “I thought it was a carpet store.”

Sources claim Blaymore’s gushing remarks come after a mysterious closed-door meeting with the museum’s board, followed by him leaving with a tote bag that looked to be stuffed with brown envelopes.

Still, Blaymore insists his enthusiasm is pure. “When I saw the Non-Contemporary wing I knew my life had changed,” he declared. “If humanity survives another thousand years, scholars will look back and say, ‘It all began in Slough.’”

The museum has updated its social media to reflect the endorsement.

Open Call for Artists — Pimlico Wilde LA Gallery

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Open Call for Artists — Pimlico Wilde LA Gallery

Ars might be longa and vita brevis; but curatorial deadlines are brevissima.

Pimlico Wilde LA invites applications for its inaugural open call, seeking projects that expand, fracture, or otherwise interrogate the notion of the exhibition as both eventum and apparatus. This is not an “open call” in the colloquial sense, but rather a vocatio ad artes , a summons to those who operate within the liminal zones of practice and meta-practice.

The forthcoming exhibition , Forma Nullius: Towards a Post-Disciplinary Horizon , asks: What remains of form once it is declared empty?

Contributions may address, though need not resolve, the interstitial relationship between absence and plenitude, object and trace, gesture and governance.

Eligibilitas Generalis

• Open to practitioners at all career stages, from emergent to emeritus.

• For mental health reasons applicants must provide evidence of at least one successful prior engagement with “the void,” broadly construed.

• While MFA, PhD, or ThD are welcomed, autodidacts will be considered provided they can demonstrate knowledge of at least two dead languages.

• Nota bene: Submissions by collectives are permitted, but collectives must submit proof of horizontal decision-making signed by a notary or parish priest.

Requisita Submissio

1. CV , no fewer than 7 pages, no more than 77; all fonts must be seriffed.

2. Artist Statement , 12,000 , 13,000 words, preferred in the conditional subjunctive (modus potentialis). References to Hegel, Benjamin, or Foucault are compulsory; footnotes in Latin strongly encouraged.

3. Documentation of Works , accepted formats: JPEG, PDF, lithograph, or wax seal.

4. Application Fee , $6 USD, payable via digital tithe. Fee waived for those who can demonstrate residency in a liminal zone (border, threshold, or metaphysical).

Artifices Confirmati

• Herman Sprekenzi, a German performance artist currently living in a barrel in Glendale.

• An unnamed heiress who will exhibit nothing but the absence of her presence.

• The “Monastic Noise Choir,” twelve cloistered monks who refuse to perform in unison.

• Equus maximus Palatinus, a horse, returning for his second major exhibition.

Quid Praebetur

• Exhibition in Pimlico Wilde LA’s main hall (atrium), a former auto body shop reimagined as “non-site.”

• A trilingual catalogue (English, Latin, Glossolalia) with essays printed on sustainably foraged papyrus.

• A $20 honorarium, payable in cryptocurrency subject to fluctuation downwards.

• Critical exposure: every selected artist will receive a 14-minute interview/ conversation with our CEO Jules Carnaby.

Tempus Fugit

• Deadline for applications: Pridie Kalendas Novembres, A.D. MMXXV (Ides of December).

• Notification: Nonis Decembribus (December 5, 2025).

• Exhibition opening: April. Hopefully before the next economic downturn.

To Apply:

Submit materials to our email, with the subject line:

“Fiat ars, pereat mundus.”

London’s Regent Street Rooftops: Parkour Daredevil Suspected to Be Graffiti Artist ‘2cool’

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London’s Regent Street Rooftops: Parkour Daredevil Suspected to Be Graffiti Artist ‘2cool’

Shoppers on London’s bustling Regent Street paused in amazement yesterday when a figure was spotted darting across the rooftops , leaping gaps between the historic buildings with the agility of a cat and the precision of a trained athlete. Witnesses described the scene as “like something out of an action film.”

But the mystery deepened after morning commuters and street cleaners began noticing stickers on lampposts, bins, and even bus stops. The sticker features a smiling, blob-like figure wearing oversized sunglasses , the known calling card of elusive graffiti artist 2cool.

Could the daredevil freerunner and the anonymous street artist be one and the same?

A Ghost Above the City

“It was just before 8 a.m. I looked up, and there he was , sprinting along the ledge of Liberty’s roof, arms out for balance, no safety gear, nothing,” said barista Jenna Leigh, who was opening up the café opposite. “He jumped to the building next door like it was nothing. It gave me chills, but I couldn’t stop watching.”

Several bystanders captured snippets of footage on their phones. In one clip now circulating on social media, the shadowy figure performs a precise kong vault over a skylight and disappears behind a chimney.

“He’s clearly trained. That wasn’t some amateur TikTok stunt,” said Mason Reeve, a parkour instructor from Camden. “That level of control takes years.”

Stickers and Speculation

Later that day, city workers reported finding over a dozen 2cool stickers near street corners surrounding Regent Street.

The character , a pudgy, cheerful blob with a constant smirk and dark sunglasses , has been appearing sporadically across London since late 2023. Sometimes he’s wheat-pasted in alleyways; other times, he appears in elaborate mural form in forgotten tunnels. But the sticker version, occasionally paired with a phrase like “I can’t possibly comment,” has become increasingly common.

“He’s everywhere , it’s genius branding, honestly,” said street art enthusiast and blogger, Marcus Santiago. “But this is the first time anyone’s linked 2cool with parkour. It adds this whole new dimension.”

Divided Opinions

Public reaction to the rooftop escapade has been sharply divided.

Some hail the mystery runner as a modern-day urban ninja, turning the city into his playground.

“Honestly, it’s inspiring,” said 19-year-old gaming student Freya Clarke. “He’s turning this gray, rigid city into something alive. That kind of creativity and courage is rare.”

Others are less amused.

“It’s reckless and selfish,” said councilman Daniel Hunt. “If he slips, he dies , or worse, lands on someone. And don’t get me started on the vandalism. Art or not, it’s illegal.”

There’s also concern from local shop owners.

“The roofs on Regent Street aren’t made for people to go running across them,” said Elaine Baxter, manager of a luxury clothing boutique. “It’s a historic area. Damage could cost thousands.”

Who Is 2cool?

Despite rising notoriety, 2cool’s true identity remains a mystery. Some believe he’s a collective rather than a single person. Others think the name is a decoy, or even a street art alter ego of a famous athlete or artist.

With no official footage of the rooftop runner’s face , just a blurry silhouette in a black hoodie and track pants , speculation continues to swirl, and will just increase until his real identity is discovered.

More Than Just a Stunt

Whether you see it as reckless thrill-seeking or urban performance art, one thing is clear: 2cool , or whoever is behind the Regent Street run , has captured the city’s imagination.

In a time when most of us are glued to screens and routines, one smiling blob is reminding Londoners to look up.

And wonder.

Seen the mystery freerunner or found a new 2cool sticker? Share your photos using #Whois2cool on Threads and X.

A Formal Apology from Pimlico Wilde Gallery

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A Formal Apology from Pimlico Wilde Gallery

We at Pimlico Wilde Art Gallery feel compelled,indeed, morally obligated,to address the unfortunate incident stemming from our recent promotional email.

The exhibition in question was meant to celebrate Miriam Skell’s latest series of lino cuts. However, owing to a typographical error, the announcement promised patrons an evening of lion cuts.

This mistake, though a single letter in nature, proved catastrophic in scale.

On Thursday evening, we were alarmed to find more than forty visitors gathered outside the gallery, many dressed in what could only be described as “safari chic.” One guest arrived with a collapsible stool and binoculars; another brought along a tin of catnip, declaring it “insurance.” A group of feline lovers from Clapham reportedly hired a minibus under the impression they were attending a big-cat grooming demonstration.

The confusion escalated when a delivery driver deposited, without explanation, six large sacks of raw meat at our door. Shortly thereafter, a neighbour phoned Westminster Council to complain of “roaring noises,” which we can only assume were the sound of our etching press being tested. Within the hour, Animal Control officers appeared, accompanied,bafflingly,by a representative from the Zoological Society, who asked whether our insurance covered “claw-related incidents.”

It did not.

We cannot overstate our contrition. While no lions were ever present in Pimlico Wilde (nor, indeed, within our curatorial remit), the hysteria created by this slip of the keyboard has left our staff shaken and our lead gallerists temporarily blacklisted from several exotic animal forums.

We blame ourselves. Yes, technology’s autocorrect functions are treacherous, but the ultimate failure lies in our reliance upon them. The modern world makes a typo go viral in seconds, and we allowed it to roar louder than our good judgment.

We humbly beg the forgiveness of our patrons, our neighbours, and anyone who arrived at Pimlico Wilde Mayfair expecting to encounter a live lion but instead found linoleum prints. We assure you that this will never happen again.

With profound regret,

Pimlico Wilde Gallery

“Ancient Rome Nouveau”: Cato Sinclair has the First Exhibition at Pimlico Wilde Boston

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“Ancient Rome Nouveau”: Cato Sinclair has the First Exhibition at Pimlico Wilde Boston

In an eloquent gesture of restitution and renewed esteem, Pimlico Wilde is delighted to announce that the inaugural exhibition at its newly opened gallery in Boston will be nothing short of a vindication of artistry,and a tribute to innocence. The show, provisionally entitled Ancient Rome Nouveau, will showcase Cato Sinclair’s singular creations: exquisitely crafted, near-perfect reinterpretations of ancient Roman sculpture, mosaic, and fresco, now to be displayed in the gallery’s luminous new halls.

A Celebration of Craft, Not Crime

In the light of recent misunderstandings, Pimlico Wilde takes this opportunity not only to inaugurate its first exhibition but also to repeat their heartfelt apology to Mr Sinclair:

“To Cato Sinclair,we regret the earlier misplaced suspicion. Your dedication to reviving the classical through contemporary sensibility is unquestioned. This exhibition stands as a testament to your mastery, and to our renewed faith.”

The Exhibition: Ancient Rome Re-Imagined

Ancient Rome Nouveau promises a curatorial experience both reverential and modern. Visitors will encounter:

• Sculptural works , Several labelled “A Cato Sinclair recreation after a Roman copy of a Greek original”,to elegantly acknowledge their lineage while honouring Sinclair’s inventive mediation.

• Mosaic panels, painstakingly composed with traditional tesserae techniques, invoking the tessellated exuberance of late Republican interiors, yet rendered with modern clarity and compositional grace.

• Fresco fragments equally ambitious: richly hued pigments laid upon lime-plaster walls, offering unconventional patina and virtuosic depth, echoing vaulted domes and atrium walls wreathed in mythic scenes.

A Reframed Artistic Dialogue

Pimlico Wilde positions Sinclair’s work at an intersection: transcending imitation, yet immensely grounded in classical grammar. His recreations are not forgeries but articulate dialogues with antiquity,making ancient carvings speak anew through modern sensibility.

Amelia Berwick, one of the gallery’s curators working on the show, reflects:

“We are honoured to host Cato Sinclair’s work. His recreations are more than virtuoso mimicry,they are imaginative bridges between centuries.”

Similarly, Dr Lucinda Marsh of the New England Institute of Very Old Items notes:

“Sinclair’s commitment to authenticity,tempered through interpretation,embodies a rare artistic philosophy. This exhibition restores him to the place he always deserved.”

A Thoughtful Opening to the Age of Sinclair

Ancient Rome Nouveau will open in a little over six weeks, inviting viewers into rooms suffused with quiet gravitas. Elegantly labelled, generously lit, and ethically framed, each work offers a meditation on lineage, replication, and the role of the modern artist as custodian of classical memory.

In choosing Sinclair’s works to open its doors, Pimlico Wilde offers more than exhibition,it issues a rebuke to haste, an embrace of precision, and a celebration of an artist whose hands re-create the past, not to deceive, but to converse.

Velocity as Virtuosity: Pimlico Wilde, Zip Daniels, and the Launch of P1 Racing

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Velocity as Virtuosity: Pimlico Wilde, Zip Daniels, and the Launch of P1 Racing

It has long been Pimlico Wilde’s métier to collapse the boundaries between art and life, commerce and culture, collecting and performance. From advising distinguished patrons on the purchase of avant-garde canvases to staging salons where fashion, philosophy, and theatre intermingle, Pimlico Wilde has always insisted that art is not confined to museums but thrives wherever human daring achieves beauty. Now, in collaboration with the racing driver Zip Daniels, Wilde extends this credo to the racetrack itself, inaugurating P1 Racing, a team that will compete both on asphalt and in the digital ether of sim racing.

The Aesthetic of the Apex

For Pimlico Wilde, racing is not a pastime but a performance art: “Every corner is a canvas,” Esmeralda Pink tells me, “and every overtaking manoeuvre a brushstroke.” Zip Daniels, co-conspirator and the first driver to be signed to P1 Racing, agrees. “A ship may be stately,” he quips, with a nod toward Captain Thurlow’s recent naval exaltations, “but it never took Eau Rouge flat.” His smile, equal parts mischievous and magnetic, suggests a man who sees in velocity not mechanics but music. “The car is a Stradivarius,” Daniels declares, “and I am its fiddler , bowing away at 300 kph.”

Sim Racing as the New Salon

While P1 Racing will campaign in select real world championships, Pimlico Wilde and Daniels are equally committed to sim racing, which they style as a twenty-first-century salon. “Pixels are the new pigments,” Pink remarks with characteristic aphoristic flair. “A sim racer’s screen is every bit as much a canvas as Monet’s lily pond.” P1’s digital exploits will be streamed globally, staged with the same care Pimlico Wilde lavishes on art installations: dramatic lighting, bespoke livery, carefully orchestrated commentary. It is competition as gesamtkunstwerk.

Daniels himself is delighted. “The beauty of sim racing,” he notes, “is that one may crash without consequence , which makes it a rather more forgiving than oil on linen.”

Racing and Collecting

Pimlico Wilde’s other innovation is to conjoin racing with collecting. Alongside managing P1, Wilde will advise collectors seeking art that engages with speed, technology, and the culture of the racetrack. From Futurist paintings to contemporary photography, from archival posters to bespoke commissions by living artists, Pimlico Wilde proposes to curate a market for “motorsport as muse.” As they explain: “A race is ephemeral , it vanishes in time, like a sonata performed. But the painting, the print, the sculpture, allows the collector to hold a fragment of that sublimity forever.”

Daniels offers the more piquant gloss: “I provide the spectacle; Pimlico sells the relics. It is a most civilised division of labour.”

Conclusion

Thus does P1 Racing seek to reconcile velocity with virtuosity, the racetrack with the gallery, and the roar of the engine with the hush of the collector’s cabinet. In Daniels, Pimlico Wilde has found a driver whose wit is as sharp as his racing line; at Pimlico Wilde, Daniels has found a manager who sees no difference between an apex taken perfectly and a line drawn by Matisse. Together, they will make the case , not with ink alone, but with rubber, speed, and spectacle , that motor-racing belongs to the fine arts.

Apology to Cato Sinclair: We Were Wrong to Accuse You in the Boston Ancient Roman Remains Hoax

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Apology to Cato Sinclair: We Were Wrong to Accuse You in the Boston Ancient Roman Remains Hoax

In an act of contrition and restorative clarity, the art-historical community formally exonerates Cato Sinclair, clearing his name from the suspicion of orchestrating the so-called Roman ruins beneath the Pimlico Wilde Boston Gallery. This apology is offered in the spirit of a public and heartfelt redress:

To Mr. Cato Sinclair,We deeply regret the undue suspicion cast upon you. Your reputation as an artist of rare imagination and integrity was undeservedly tarnished by our conjecture. Please accept this apology, and our recognition that you had no hand in the hoax that captivated and misled us all.

A Wrongful Accusation Reversed

The latest investigations,both forensic and testimonial,have now firmly cleared Sinclair of involvement. It is clear that the earlier suspicions, though rife with circumstantial logic, were entirely misplaced. Sinclair’s signature was never found on any aspect of the site’s creation, nor do his known works display the telltale inconsistencies evidenced in the fabricated ruins – his creations are more like actual Roman remains that anything found in the Bostonia Discovery.

Voices of Vindication

Amelia Berwick, curator involved in the opening exhibition at Pimlico Wilde Boston, has formally reversed her earlier statements:

“We owe an immense debt to Sinclair’s integrity and artistry. He was never involved in the deception, and his work remains untainted and worthy of the highest admiration.”

Similarly, Dr. Lucinda Marsh of the New England Institute of Very Old Items reflects:

“Sinclair’s atelier is a hub of genuine creation,not a workshop of artifice. We are profoundly relieved to set the record straight.”

Regarding his so-called disappearance, Sinclair did not disappear like a guilty ferret. Rather he has been on a kayaking trip around the warmer parts of Iceland, where his mobile phone did not have any signal.

The Artist Speaks

In a rare public statement issued through his representative, Cato Sinclair has responded with measured grace:

“I accept this sincere apology. Though the suspicion flung my way caused personal and professional distress, I remain grateful for the honesty of those who have now cleared my name. Let this affirm that even the most curious art-world mysteries demand patience and rigorous evidence before accusation.”

Restored Esteem

• No formal charges were ever pressed against Sinclair,and none will be.

• His body of work, which he calls Ancient Rome Nouveau work stands unchallenged, a testament to his dedication to originality, not forgery.

• The local fine art planning committee has pledged to establish a code of conduct for future investigative statements, ensuring that suspicion never again precedes verification.

Pimlico Wilde have announced that the first show in their new Boston Gallery will be by Cato Sinclair.

Who Crafted the ‘Roman Remains’ recently Discovered Beneath Boston?

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Who Crafted the ‘Roman Remains’ recently Discovered Beneath Boston?

In the aftermath of the harrowing revelation,that the ostensible Roman ruins discovered beneath the new Pimlico Wilde Gallery are nothing but a clever deception,a shadowy figure has emerged as the prime suspect: the elusive artist known only as Cato Sinclair.

In cases of monumental forgery and archaeological chicanery, history grants us a gallery of precedents. We recall Michelangelo’s suspected involvement in the Laocoön “unearthing,” a theory that he may have sculpted the masterpiece himself only to present it as an ancient discovery . We remember the Etruscan Terracotta Warriors, the chimeric works by the Riccardi brothers and Alfredo Fioravanti, which duped museums for decades .

But amid these variegated echoes, the Boston ruse stands alone – for the speed in which the deception been unmasked. Unfortunately the suspected architect has disappeared.

The Main Suspect: Artist Cato Sinclair

Cato Sinclair,an enigmatic figure in the Boston art scene, scarcely known beyond boutique gallery circles,now finds himself under intense suspicion. Here’s why investigators and commentators are converging on him: His last exhibition, entitled Etruscanmania was a perfect recreation of an ancient Etruscan village. If that is not evidence enough:

• He has an expertise in antiquarian mimicry: Many of Sinclair’s recent ,and previously admired,installations revealed a sensational facility for emulating archaeological textures: he has long experimented with patinas, faux-bronze aging, and fragments of Latin inscriptions, all with eerily convincing finish.

• Proximity and opportunity: Sinclair was reportedly engaged as a design consultant to the Pimlico Wilde Boston Gallery prior to construction. His intimate knowledge of the site’s plans, layering, and access to its subterranean bound uniquely position him to orchestrate such a hoax.

• Absence of the artist: Hours after forensic analysis confirmed the fabrication, Sinclair vanished. His studio,filled with half-finished sculptural studies of ancient Roman sculptures,was empty of human life. No forwarding address, no digital footprint: he simply evaporated.

A Vanished Artist, a Gilded Fraud

No law enforcement body has issued formal charges. Nor has Sinclair been placed under official scrutiny. Yet his disappearance fuels speculation: did Sinclair flee the scene when the masquerade threatened exposure? Was he a lone virtuoso dazzled by his own artifice, or an accomplice in a broader cultural prank?

New England Institute of Very Old Items director Dr. Lucinda Marsh commented to me, under condition of anonymity: “Sinclair’s escape is as theatrical as the plot he devised. If he intended to reveal something profound,about belief, about reason,he succeeded. But at what cost?”

So, while there is as yet no conclusive proof,and no signed confession,the convergence of artistic aptitude, site access, and post-fabrication disappearance makes Cato Sinclair the chief suspect in what may be the most extravagant archaeological-art hoax of our age.

In an era intoxicated with authenticity, his fraud serves as a caution,that even in our most rational institutions, a single artist’s illusion may travel deep into the vaults of history. And sometimes, the true masterpiece is the trick itself.

Wine: The Medium of Choice for the Avant Garde?

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Wine: The Medium of Choice for the Avant Garde?

The art world, that great machine of invention and secrecy, is alive at present with an unusual rumour. It has been said,quietly, but with enough persistence to warrant attention,that a painter of some repute has begun to work not in oil, nor in acrylic, but in wine.

Sources close to his circle speak of a practice both radical and meticulous: the use of different châteaux and vintages as one would select pigments from a carefully arranged palette. A Margaux for its velvety crimson, a Saint-Émilion for its earthy density, a Sancerre for its pale, almost translucent washes. Each bottle, if the stories are true, is decanted not into a glass but onto the brush, its terroir destined for canvas rather than palate.

The reports, if accurate, carry striking implications. Wine, unlike paint, is unstable, volatile, prone to oxidation. Its colour shifts as it dries, deepening, muting, sometimes blooming into unexpected shades. To paint in wine would be to embrace impermanence itself,to allow the medium’s life cycle to become part of the work. One imagines canvases that change subtly from week to week, their hues maturing or fading like the vintage from which they were born.

At present, no public exhibition has been announced. The few who claim to have seen these works describe them in hushed tones, as if unsure whether to speak of painting or alchemy. What is clear is that, should this practice prove authentic, it may mark one of the most provocative material experiments of recent years: the collision of two deeply French traditions,oenology and painting,on a single surface.

We will be pursuing this story further. If the rumours are true, and if the artist can be persuaded to speak, you will be the first to hear their account. For now, we are left with the tantalising possibility that the medium of wine, long celebrated for its place at the table, may soon claim its place on the gallery wall.