Sam Llewellyn-Jones, faces in hadean dreams, 2025, Oil pastel on linen, 200 x 150 cm (78 3/4 x 59 in)
Sam Llewellyn-Jones, light I touch, return my gaze, 2025 ,Oil pastel on linen, 200 x 150 cm (78 3/4 x 59 in)
Sam Llewellyn-Jones, upon the face of the deep, 2025, Oil on gelatin silver print, laid on linen, 80 x 105 cm (31 1/2 x 41 3/8 in)
Photo: @showpickle
Sam Llewellyn-Jones, their days are like a fleeting shadow, 2025, Oil on gelatin silver print, laid on linen, Unframed: 80 x 105 cm (31 1/2 x 41 3/8 in) Framed: 83.5 x 108.5 cm (32 7/8 x 42 3/4 in)
Photo: @showpickle
Sam Llewellyn-Jones, shoulders of the hills, 2025, Oil on gelatin silver print, laid on linen, Unframed: 80 x 105 cm (31 1/2 x 41 3/8 in), Framed: 83.5 x 108.5 cm (32 7/8 x 42 3/4 in)
Photo: @showpick
Sam Llewellyn-Jones, sapphire, 2024, Acrylic and watercolour on negatives, 24.5 x 19.5 cm (9 5/8 x 7 5/8 in)
Photo: @showpickle
Sam Llewellyn-Jones, faces in hadean dreams, 2025 (Detail, Oil pastel on linen, 200 x 150 cm (78 3/4 x 59 in)
Photo: @showpickle
Theodore Ereira-Guyer, Not every wish bears fruit, 2024-25, Etching on paper laid on canvas, 155 x 243 cm (61 x 95 5/8 in)
Photo: @showpickle
Theodore Ereira-Guyer, The first night, 2024-25, Etching on paper laid on silk, pigment and india ink pins, Unframed: 63 x 92 cm (24 3/4 x 36 1/4 in) Framed: 64.5 x 93.5 cm (25 3/8 x 36 3/4 in)
Photo: @showpickle
Theodore Ereira-Guyer, Silhouettes by the light of moon (ii), 2025, Etching into plaster, glass, cement and pigment, 40 x 30 cm (15 3/4 x 11 3/4 in)
Photo: @showpickle
Theodore Ereira-Guyer, Silhouettes by the light of moon (i), 2025, Etching into plaster, glass, cement and pigment, 40 x 30 cm (15 3/4 x 11 3/4 in)
Photo: @showpickle
Theodore Ereira-Guyer, The first night, 2024-25 (Detail), Etching on paper laid on silk, pigment and india ink pins, Unframed: 63 x 92 cm (24 3/4 x 36 1/4 in) Framed: 64.5 x 93.5 cm (25 3/8 x 36 3/4 in)
Photo: @showpickle
Beatrice Hasell-McCosh, No Worries If Not (Part I), 2025, Oil on canvas, 132 x 122 cm (52 x 48 in)
Photo: @showpickle
Beatrice Hasell-McCosh, No Worries If Not (Part II), 2025, Oil on canvas, 132 x 122 cm (52 x 48 in)
Photo: @showpickle
Beatrice Hasell-McCosh, Be Cheerful And Enjoy Life, 2025, Oil on canvas, 110 x 86 cm (43 1/4 x 33 7/8 in)
Beatrice Hasell-McCosh, Disco Decor, 2025Oil on canvas, 131 x 121 cm (51 5/8 x 47 5/8 in)
Beatrice Hasell-McCosh, Electric Field, 2024, Oil on canvas, 183 x 110 cm (72 x 43 1/4 in)
Beatrice Hasell-McCosh, No Worries If Not (Part I), 2025 (Detail), Oil on canvas, 132 x 122 cm (52 x 48 in)
Photo: @showpickle
Dean Fox, The Garden, 2025, Oil on canvas, 96 x 85 cm (37 3/4 x 33 1/2 in)
Photo: @showpickle
Dean Fox, Creating Eden, 2025, Oil on panel, 40.6 x 40.6 cm (16 x 16 in)
Photo: @showpickle
Dean Fox, The Garden, 2025 (Detail), Oil on canvas, 96 x 85 cm (37 3/4 x 33 1/2 in)
Photo: @showpickle
Chris Huen Sin-kan, MuiMui, 2025, Oil on canvas, 70 x 85 cm (27 1/2 x 33 1/2 in)
Photo: @showpickle
Chris Huen Sin-kan, Balltsz, 2025, Oil on canvas, 25.5 x 30.5 cm (10 x 12 in)
Photo: @showpickle
Chris Huen Sin-kan, MuiMui, 2025 (Detail), Oil on canvas, 70 x 85 cm (27 1/2 x 33 1/2 in)
Photo: @showpickle
Lewis Brander, Copse, 2024–25, Oil on linen, Unframed: 100 x 40 cm (39 3/8 x 15 3/4 in), Framed: 102 x 42 cm (40 1/8 x 16 1/2 in)
Photo: @showpickl
Lewis Brander, Copse, 2024–25 (Detail), Oil on linen, Unframed: 100 x 40 cm (39 3/8 x 15 3/4 in), Framed: 102 x 42 cm (40 1/8 x 16 1/2 in)
Photo:@showpickle
Clare Woods, Brian's Vine, 2023, Oil on aluminium, 49 x 39 cm (19 1/4 x 15 3/8 in)
Clare Woods, Happy Island, 2023, Oil on aluminium, 31 x 24 cm (12 1/4 x 9 1/2 in)
Clare Woods, Brian's Vine, 2023 (Detail, Oil on aluminium, 49 x 39 cm (19 1/4 x 15 3/8 in)
James Cabaniuk, Osmosissy, 2025, Oil paint, spray paint and glitter on canvas, 120 x 130 cm (47 1/4 x 51 1/8 in)
Photo: @showpickle
James Cabaniuk, Hobby, 2025, Oil paint, spray paint and glitter on canvas, 90 x 55 cm (35 3/8 x 21 5/8 in)
Photo: @showpickle
James Cabaniuk, Osmosissy, 2025 (Detail), Oil paint, spray paint and glitter on canvas, 120 x 130 cm (47 1/4 x 51 1/8 in)
Photo: @showpickle
Lauren Brown, Place, 2025, Oil on canvas, 50 x 60 cm (19 3/4 x 23 5/8 in)
Photo: @showpickle
Lauren Brown, Unbodied, 2025, Oil on canvas, 40 x 30 cm (15 3/4 x 11 3/4 in)
Photo: @showpickle
Lauren Brown, Place, 2025 (Detail), Oil on canvas, 50 x 60 cm (19 3/4 x 23 5/8 in)
Photo: @showpickle
Martyn Cross, Lord of Eternity, 2024, Oil and sand on canvas, 66 x 86.4 cm (26 x 34 in)
Photo: Damian Griffiths
Martyn Cross, The Inmost Light, 2024, Oil on canvas, 91.4 x 66 cm (36 x 26 in)
Photo: Damian Griffiths
Martyn Cross, You Shall Return, 2024, Charcoal on paper, Unframed: 59.5 x 84.2 cm (23 3/8 x 33 1/8 in) Framed: 66.6 x 91.3 x 3.6 cm (26 1/4 x 36 x 1 3/8 in)
Photo: Damian Griffiths
Martyn Cross, The Crystal Kingdom, 2024, Charcoal on paper, Unframed: 41.8 x 59.5 cm (16 1/2 x 23 3/8 in) Framed: 50.9 x 68.3 x 3.6 cm (20 x 26 7/8 x 1 3/8 in)
Photo: Damian Griffiths
Martyn Cross, Lord of Eternity, 2024 (Detail), Oil and sand on canvas, 66 x 86.4 cm (26 x 34 in)
Photo: Damian Griffiths
Matt Carey-Williams is delighted to present his twelfth Scene, ‘Scene XII: Eden’, a ten-person group exhibition that mulls over the signification of The Garden of Eden.
‘Eden’ is an anagram of ‘need’: a fitting logograph given that desire snakes its way through the Biblical tale of Paradise, at first illuminating the light of hope and bounty for Adam and Eve but which ultimately sucks them in to shadows of dereliction and displacement.
The ten artists included in this show - Lewis Brander, Lauren Brown, James Cabaniuk, Martyn Cross, Theodore Ereira-Guyer, Dean Fox, Beatrice Hasell-McCosh, Sam Llewellyn-Jones, Chris Huen Sin-kan and Clare Woods – offer works that explore the ground on which such temples are built, then proclaim their gardens, only to witness their inexorable decay leaving us, finally, to mull over new paeans to presence and absence, love and loss, devotion and dislocation.
From Paradise to Fall, from the language of abundance to more sombre notes of decay, Eden represents the ultimate oxymoron. It is a space that is meant to celebrate a God-given Arcadian bliss but which, instead, draws attention to our innate fallibility; a garden where flowers offer no love for life but rather serve only to witness death.