Exhibitions

15.09 -

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21.09

Everything Then is Now
London Design Festival
Everything Then is Now – Alter Peckham is the inaugural edition of SPIRA9’s nomadic series Othering, exploring shifting identities, space, and belonging in contemporary society
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Artists' voice

Blandine Martin and the Textile Poetics of Time

Blandine Martin

Clara Voss

Architecture gave me a deep awareness of space, form, materials, concepts and the idea of “home” as both a structure and a feeling. Textiles, often seen as domestic or feminine materials, allows me to work with these concepts that is tactile and so versatile .

Blandine Martin and the Textile Poetics of Time

Blandine Martin

Clara Voss

Architecture gave me a deep awareness of space, form, materials, concepts and the idea of “home” as both a structure and a feeling. Textiles, often seen as domestic or feminine materials, allows me to work with these concepts that is tactile and so versatile .

Blandine Martin and the Textile Poetics of Time

Blandine Martin

Clara Voss

Architecture gave me a deep awareness of space, form, materials, concepts and the idea of “home” as both a structure and a feeling. Textiles, often seen as domestic or feminine materials, allows me to work with these concepts that is tactile and so versatile .

The Digital Other Within

Hanbing Fang

Clara Voss

The tension between the live space and the screen image is not incidental—it is the heart of the work. The piece challenges the viewer’s sense of spatial and psychological coherence, evoking both fascination and discomfort.


Fang’s interest lies in the unstable relationship between identity and embodiment in the post-human era. Drawing from feminist theory and digital ontology, Illusive Lover questions how subjectivity is fractured, reproduced, and looped through mediated systems. Her “illusory lover” is not merely a digital alter ego, but a reflection of how selfhood is constantly performed, simulated, and surveilled. The viewer, in turn, becomes part of this loop—both witness and participant in a digital intimacy that resists resolution.

The Digital Other Within

Hanbing Fang

Clara Voss

The tension between the live space and the screen image is not incidental—it is the heart of the work. The piece challenges the viewer’s sense of spatial and psychological coherence, evoking both fascination and discomfort.


Fang’s interest lies in the unstable relationship between identity and embodiment in the post-human era. Drawing from feminist theory and digital ontology, Illusive Lover questions how subjectivity is fractured, reproduced, and looped through mediated systems. Her “illusory lover” is not merely a digital alter ego, but a reflection of how selfhood is constantly performed, simulated, and surveilled. The viewer, in turn, becomes part of this loop—both witness and participant in a digital intimacy that resists resolution.

The Digital Other Within

Hanbing Fang

Clara Voss

The tension between the live space and the screen image is not incidental—it is the heart of the work. The piece challenges the viewer’s sense of spatial and psychological coherence, evoking both fascination and discomfort.


Fang’s interest lies in the unstable relationship between identity and embodiment in the post-human era. Drawing from feminist theory and digital ontology, Illusive Lover questions how subjectivity is fractured, reproduced, and looped through mediated systems. Her “illusory lover” is not merely a digital alter ego, but a reflection of how selfhood is constantly performed, simulated, and surveilled. The viewer, in turn, becomes part of this loop—both witness and participant in a digital intimacy that resists resolution.

Bissy Riva’s Forest of Meaning

Bissy Riva’

Clara Voss

Rendered in oil on a tall wooden panel, the work is physically commanding—over two meters high—and emotionally immersive. Riva’s brushwork is deliberate but never static. Her lines twist, fold, erupt. Color is used not just to construct space, but to charge it. Flame orange crashes against deep cobalt; acidic greens pulse alongside muddy reds. Each shape seems alive, leaning into or pulling away from the others, like foliage, or spirits, or memories.

Bissy Riva’s Forest of Meaning

Bissy Riva’

Clara Voss

Rendered in oil on a tall wooden panel, the work is physically commanding—over two meters high—and emotionally immersive. Riva’s brushwork is deliberate but never static. Her lines twist, fold, erupt. Color is used not just to construct space, but to charge it. Flame orange crashes against deep cobalt; acidic greens pulse alongside muddy reds. Each shape seems alive, leaning into or pulling away from the others, like foliage, or spirits, or memories.

Bissy Riva’s Forest of Meaning

Bissy Riva’

Clara Voss

Rendered in oil on a tall wooden panel, the work is physically commanding—over two meters high—and emotionally immersive. Riva’s brushwork is deliberate but never static. Her lines twist, fold, erupt. Color is used not just to construct space, but to charge it. Flame orange crashes against deep cobalt; acidic greens pulse alongside muddy reds. Each shape seems alive, leaning into or pulling away from the others, like foliage, or spirits, or memories.

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About

SPIRA9 is a London- based arts organisation that supports under-represented voices and emerging artists.

Established in 2024, our programs enable makers, community groups, professionals, and the public to unite around unique art and cultural experiences and curated events.