About this Event
WHISPERer is a curated exhibition presented by SPIRA9 as part of London Craft Week 2026, exploring the quiet intelligence that resides within acts of making.
Craft is often a quiet language. It speaks through touch, repetition, and the subtle dialogue between maker and material. In WHISPERer, this language is expressed through a wide constellation of practices, from painting, sculpture, ceramics, textiles, jewellery, digital systems, and installation.
Artists such as BC da Ghondi, in My Africa, map identity, geography, and resilience onto the human form, while Bindu Kasinadhuni’s Emergence, Lightness of Being series reflects on compassion, awareness, and the fragile possibility of collective transformation through hand-cut paper.
The exhibition brings together interdisciplinary approaches to craft that extend beyond traditional definitions. In textile and material systems, Eva the Weaver Studio’s Tile Weaving transforms deadstock yarn and recycled fabric into rhythmic woven structures, while Kate Hassett’s Kate’s Bush explores layered textile surfaces shaped by dye, warp, and tension. In parallel, Poppy Becke’s Woven Dreams uses algorithmic extrusion in clay to translate textile logic into ceramic form.
Jewellery and small-scale objects become sites of movement and transformation. Cecilia Hsi Hu’s Bounce Back explores resilience through deformation and return, while Fangjing Hu’s Breathing Form captures oceanic memory through subtle variation in silver and enamel. Jingya Yang’s Held in Between / 方与圆之间 investigates imperfection and balance through nephrite jade, and Emma (Xinyan) Gu’s Mushroom forms hybrid metallic organisms that sit between natural and constructed worlds.
Across ceramic and sculptural practices, repetition and gesture become central. Junyi Qi’s Steady Circles records rhythm through circular imprints, while SHARON HARTIGAN’s NECKLACE assembles over one hundred ceramic fragments into a collective structure of unity and individuality. Naomi Riley’s Mum’s Playhouse extends ceramic language into painted and spatial narratives of domestic imagination.
Memory, time, and transformation run through many of the works. Xixi Xu’s Fragmented Memory and Mohamed Ahnach’s Hajin Composition both treat fragmentation as a generative system where images and bone-like forms become archives of change. Tianle Zhao’s Soft Weight layers family photographs within wax, revealing how memory is both preserved and obscured over time. Yimeng Liu’s Refuge: Held similarly works with reclaimed materials to express displacement, fragility, and belonging.
Installation and spatial works extend these ideas into collective experience. Jingyi Gao, Qiyue Huang, Zoumin Gong, Jie Dong, and Shicen Lin’s Borne Echo reconstructs fragmented urban memory through ceramic decal print, while Lizzie Hill’s Off Kilter transforms domestic waste into unstable anthropomorphic forms that reflect social and material imbalance.
Several works explore perception, systems, and invisible structures. Divya Vinod Gilatar’s Ajna Chakra – The Third Eye Portal uses sacred geometry to evoke expanded awareness, while Sung Jin Kim’s Lines translates the visual language of the London Underground into sculptural form, reflecting movement, migration, and dislocation. Jonathan Sapir’s Suspended Axis explores optical tension between glass, stoneware, light, and water.
Craft in WHISPERer also becomes a space of emotional and bodily transformation. Trinity Brookes’ stitching myself back up again exposes the act of repair as both physical and psychological reconstruction, while Greg Kent’s Father Dear Father uses woodturning and narrative to reflect on influence, humour, and autonomy in making. Minjeong Kim’s Moment Vessel 01–03 captures copper and tin in states of transition, holding material in a suspended condition between formation and release.
Systems of repetition, structure, and transformation appear again in Sheida Moinzadeh’s Greh (The Knot), where thousands of mosaic units translate Persian weaving logic into contemporary composition, and in Shabnam Moinzadeh’s Light of Persia, which reinterprets Ayeneh-Kari mirror traditions into a modern visual language. Yvette Yujie Yang’s Rubedo extends this exploration through glass in a process of alchemical transition from opacity to clarity.
Material memory and tactile perception are further explored in Mercury. N’s Love Letter, where layered photography and Braille create a dual language of visibility and touch, and in Zimeng Zhang’s Window Scenery, where enamel and stone setting capture fleeting atmospheric conditions. Lee Ko’s Flutter Across Time weaves inherited silk and Hanji into migratory, ephemeral forms shaped by generational labour.
Inspired by the quiet logic found in natural systems, cycles of growth, repetition, and transformation, WHISPERer considers making as a living process. Each gesture grows from the previous one; repetition becomes rhythm, and rhythm becomes structure. Across practices, whether in ceramics, metal, textile, glass, digital systems, or installation, the works reveal how meaning is accumulated slowly through attention, iteration, and care.
The exhibition does not present craft as fixed outcome, but as ongoing negotiation between material, memory, body, and system. It invites viewers to notice the invisible architectures of making: the intelligence embedded in repetition, the fragility within structure, and the quiet persistence of touch.
Presented during London Craft Week 2026, WHISPERer offers a space for reflection within the rhythm of the city, where craft becomes not only object, but language, process, and way of listening.
Event Venue & Nearby Stays
Capital Art London, 5 Church Street, London, United Kingdom
GBP 0.00
