Karolina Albricht (b. 1983, Krakow, Poland) is a London-based artist working primarily in painting and drawing. She sees painting as an opening – an access point to a world that can be felt and intuited. Albricht seeks to generate active spatial environments that engage both intellectual and sensory faculties – what she understands as whole-body-intelligence.

Her paintings probe the reciprocity of colour, shape, line and surface: their responsiveness to one another and to the painting’s edges. She is interested in the interrelation of the body’s movement in space and time, and how these relationships can be translated to the pictorial plane. These concerns are also reflected in the varied scale of her paintings, which range from hand-sized panels to canvases larger than the frame of her body.

Albricht is driven by curiosity and the desire to see – and, most importantly, to feel what is seen. A sense of potentiality is central to her practice, sustained by a continual process of posing and rephrasing questions about what is possible. She understands painting as a dislocation – an interference of matter that generates vibration – its own pulse.

Gabriela Giroletti (b. 1982, Porto Alegre, Brazil) lives and works between the UK and Brazil. She received a Bachelor's degree in Fine Art from Middlesex University and a MA in Painting from the Slade School of Fine Art. Solo exhibitions include: One Thousand Mornings, Galeria Leme, São Paulo (2024); Inevitable Orbits, Kristin Hjellegjerde Gallery, West Palm Beach (2024); Sunsets & Rains, Backslash Gallery, Paris (2024); Mingling Currents, Kristin Hjellegjerde Gallery, London (2023); Moons, Commonage Projects, London, (2023); Breezy, Kristin Hjellegjerde Gallery, London (2021). Gabriela will open her first solo exhibition in Berlin at Kristin Hjellegjerde Gallery entitled Among Ripples and Folds this November.

Gabriela's practice is driven by an ongoing exploration of both the visible world and the inner landscapes shaped by perception, memory, and thought. Attentive to the subtle and the overlooked, her work reveals a sensitivity to detail that transforms ordinary observations into sites of reflection and discovery. Nature is a recurring point of departure - both her surroundings and the nature of her materials, anchoring the artist in a continual process of looking and making.

At the core of her practice lies an inquiry into the material and conceptual possibilities of painting. The work moves fluidly between simplicity and complexity, abstraction and figuration, painting and drawing, the micro and the macro, the landscape and the body, flora and fauna... These oscillations generate spaces of ambiguity, inviting viewers to engage with the work through their own perceptual and emotional responses. In recent developments, the artist’s investigations have expanded beyond the boundaries of traditional painting. Giroletti’s growing interest in the sculptural potential of the medium has led to an exploration of form, surface, and spatial presence - examining how painted works can inhabit and transform the physical environment around them.

Laura Porter (b. 1991, London, UK) is based between North Devon and South London, and is the founding director and curator of Studio KIND CIC, an artist-led space in Barnstaple. Having obtained a BA in Fine Art from Middlesex University and an MA in Sculpture from Camberwell (UAL), Laura has received funding from The British Council, Arts Council England, A-n and has exhibited across the country.

Intrinsically grounded in the traditions of craft and textiles, and the histories of fibre art activism, Laura’s practice pushes back against an automated, digitised world and hierarchies of labour and material, instead placing value in slow, low-tech processes performed by the body. Using her own body as a site of action and a renewable energy source, she undertakes these labour-intensive tasks in order to critique ideas around productivity, women’s work, and the experiences of female bodies in man-made spaces.

Working with discarded clothing – a material that carries with it cyclical histories of land, worker, consumer and waste – Laura breaks down the fibres to create a textiles pulp that is re-formed into solid structures. The labour-intensive process pays homage both to the bodies that made the garments, and the bodies that wore the clothing, whilst also creating a cyclical, renewable art material that can be re-hydrated and re-applied infinitely.

The sculptures become a proposition for a post-human world, where a new material language is formed from their previous bodily interactions. The sculptures re-imagine our material world as neither rigid nor organic – straddling the space between biological and artificial; rural and urban; lived and inactive. Exploring the in-betweenness of repurposed materials and built environments, Laura imagines consciousness as an energy that is absorbed by these over time, and hints at a new life form; one evolving from man-made materials into a quasi-living entity.

Lottie Stoddart (b. 1989, Cambridge, UK) is a London-based artist and writer. Her multi-disciplinary practice encompasses painting, ceramic, textile, animation and creative writing. These varied modes cross-pollinate in endless strains and variations around her core interest in narrative constructions; stories which are condensed, cut-up, distorted, layered and repositioned to create versions and inversions. An engagement with the evolution of literature underlies this process of distillation, where stories are excavated and reinterpreted. Stoddart often stages these formations within a recessed space that has intimations of theatre, memory boxes and bass relief. She likes each component to be as specific as the word choice in a verse of free-form poetry, where the clues to decoding lies in illusion, materiality and humorous juxtaposition.