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Thrilled to be showing ‘And so she forgets’ @independent_hq with @janelombardgallery together with @via.lewandowsky and @massinissaselmani

And so she forgets
Acrylic, photo inkjet on cotton, ink, tea, crushed oyster shell
120cm x 80cm
2025
Jane Bustin

Thrilled to be showing ‘And so she forgets’ @independent_hq with @janelombardgallery together with @via.lewandowsky and @massinissaselmani

And so she forgets
Acrylic, photo inkjet on cotton, ink, tea, crushed oyster shell
120cm x 80cm
2025
Jane Bustin

Thrilled to be showing ‘And so she forgets’ @independent_hq with @janelombardgallery together with @via.lewandowsky and @massinissaselmani

And so she forgets
Acrylic, photo inkjet on cotton, ink, tea, crushed oyster shell
120cm x 80cm
2025
Jane Bustin

Both lenticulars and holographic prayer cards draw on the same visual language of mass- produced kitsch: one for erotic titillation, one for spiritual meditation (both in their ways different
forms of devotion). But hasn’t Catholicism’s history of sensuous images – of oozing martyred
bodies and ecstatic sufferings of the flesh told us that the erotic and the sacred are not cleaved
apart but spring from the same well, and the Magdalen is also the Madonna, the virgin, also the
whore?
Bustin’s use of lenticulars speaks to more than the two-dimensional good girl/ bad girl cheap
erotic fantasy, but is an invitation to critique their place at the start of a tradition that has
culminated in our current era of deepfakes and AI generated violence against women through
pictures. The lenticulars that shimmer between clothed and unclothed, between ‘virgin’ and
‘slut’, seem to link the contemporary opinions of the manosphere with those of the medieval
clerics. In other words that behind all pictures of women there is also always the shadow image
of her nude and debased for the gaze - after all, much was made of the fantasy of Joan’s comely
body and she was exposed naked on her pyre to establish that she was in fact female. From
seemingly innocent lenticulars to creepy AI, image culture reveals how the spectre of woman
as depraved sinner is always latent behind the perfect impenetrable exterior (and painted
surface) of the saint, and that the erotic thrill and justification for abuse has always been in the
imaginary oscillation between the two.
Catherine McCormack @womeninthepicture

Mary and the three prayers
Wood, brass, acrylic, 1970’ s lenticular
30cm x 50cm x 3.5cm
2026
Jane Bustin

@foxjensenmccrory @foxjensengallery

Both lenticulars and holographic prayer cards draw on the same visual language of mass- produced kitsch: one for erotic titillation, one for spiritual meditation (both in their ways different
forms of devotion). But hasn’t Catholicism’s history of sensuous images – of oozing martyred
bodies and ecstatic sufferings of the flesh told us that the erotic and the sacred are not cleaved
apart but spring from the same well, and the Magdalen is also the Madonna, the virgin, also the
whore?
Bustin’s use of lenticulars speaks to more than the two-dimensional good girl/ bad girl cheap
erotic fantasy, but is an invitation to critique their place at the start of a tradition that has
culminated in our current era of deepfakes and AI generated violence against women through
pictures. The lenticulars that shimmer between clothed and unclothed, between ‘virgin’ and
‘slut’, seem to link the contemporary opinions of the manosphere with those of the medieval
clerics. In other words that behind all pictures of women there is also always the shadow image
of her nude and debased for the gaze - after all, much was made of the fantasy of Joan’s comely
body and she was exposed naked on her pyre to establish that she was in fact female. From
seemingly innocent lenticulars to creepy AI, image culture reveals how the spectre of woman
as depraved sinner is always latent behind the perfect impenetrable exterior (and painted
surface) of the saint, and that the erotic thrill and justification for abuse has always been in the
imaginary oscillation between the two.
Catherine McCormack @womeninthepicture

Mary and the three prayers
Wood, brass, acrylic, 1970’ s lenticular
30cm x 50cm x 3.5cm
2026
Jane Bustin

@foxjensenmccrory @foxjensengallery

Both lenticulars and holographic prayer cards draw on the same visual language of mass- produced kitsch: one for erotic titillation, one for spiritual meditation (both in their ways different
forms of devotion). But hasn’t Catholicism’s history of sensuous images – of oozing martyred
bodies and ecstatic sufferings of the flesh told us that the erotic and the sacred are not cleaved
apart but spring from the same well, and the Magdalen is also the Madonna, the virgin, also the
whore?
Bustin’s use of lenticulars speaks to more than the two-dimensional good girl/ bad girl cheap
erotic fantasy, but is an invitation to critique their place at the start of a tradition that has
culminated in our current era of deepfakes and AI generated violence against women through
pictures. The lenticulars that shimmer between clothed and unclothed, between ‘virgin’ and
‘slut’, seem to link the contemporary opinions of the manosphere with those of the medieval
clerics. In other words that behind all pictures of women there is also always the shadow image
of her nude and debased for the gaze - after all, much was made of the fantasy of Joan’s comely
body and she was exposed naked on her pyre to establish that she was in fact female. From
seemingly innocent lenticulars to creepy AI, image culture reveals how the spectre of woman
as depraved sinner is always latent behind the perfect impenetrable exterior (and painted
surface) of the saint, and that the erotic thrill and justification for abuse has always been in the
imaginary oscillation between the two.
Catherine McCormack @womeninthepicture

Mary and the three prayers
Wood, brass, acrylic, 1970’ s lenticular
30cm x 50cm x 3.5cm
2026
Jane Bustin

@foxjensenmccrory @foxjensengallery

Both lenticulars and holographic prayer cards draw on the same visual language of mass- produced kitsch: one for erotic titillation, one for spiritual meditation (both in their ways different
forms of devotion). But hasn’t Catholicism’s history of sensuous images – of oozing martyred
bodies and ecstatic sufferings of the flesh told us that the erotic and the sacred are not cleaved
apart but spring from the same well, and the Magdalen is also the Madonna, the virgin, also the
whore?
Bustin’s use of lenticulars speaks to more than the two-dimensional good girl/ bad girl cheap
erotic fantasy, but is an invitation to critique their place at the start of a tradition that has
culminated in our current era of deepfakes and AI generated violence against women through
pictures. The lenticulars that shimmer between clothed and unclothed, between ‘virgin’ and
‘slut’, seem to link the contemporary opinions of the manosphere with those of the medieval
clerics. In other words that behind all pictures of women there is also always the shadow image
of her nude and debased for the gaze - after all, much was made of the fantasy of Joan’s comely
body and she was exposed naked on her pyre to establish that she was in fact female. From
seemingly innocent lenticulars to creepy AI, image culture reveals how the spectre of woman
as depraved sinner is always latent behind the perfect impenetrable exterior (and painted
surface) of the saint, and that the erotic thrill and justification for abuse has always been in the
imaginary oscillation between the two.
Catherine McCormack @womeninthepicture

Mary and the three prayers
Wood, brass, acrylic, 1970’ s lenticular
30cm x 50cm x 3.5cm
2026
Jane Bustin

@foxjensenmccrory @foxjensengallery

SISTERS @foxjensenmccrory till 26th April

Catherine MCCormack @womeninthepicture catalogue essay extract ;

‘Bustin’s use of lenticulars speaks to more than the two-dimensional good girl/ bad girl cheap
erotic fantasy, but is an invitation to critique their place at the start of a tradition that has
culminated in our current era of deepfakes and AI generated violence against women through
pictures. The lenticulars that shimmer between clothed and unclothed, between ‘virgin’ and
‘slut’, seem to link the contemporary opinions of the manosphere with those of the medieval
clerics. In other words that behind all pictures of women there is also always the shadow image
of her nude and debased for the gaze - after all, much was made of the fantasy of Joan’s comely
body and she was exposed naked on her pyre to establish that she was in fact female. From
seemingly innocent lenticulars to creepy AI, image culture reveals how the spectre of woman
as depraved sinner is always latent behind the perfect impenetrable exterior (and painted
surface) of the saint, and that the erotic thrill and justification for abuse has always been in the
imaginary oscillation between the two.’

Pensive
Wood, acrylic, 2970s lenticular, fibreglass , paper , tea
12cm x 35cm
2026
Jane Bustin

SISTERS @foxjensenmccrory till 26th April

Catherine MCCormack @womeninthepicture catalogue essay extract ;

‘Bustin’s use of lenticulars speaks to more than the two-dimensional good girl/ bad girl cheap
erotic fantasy, but is an invitation to critique their place at the start of a tradition that has
culminated in our current era of deepfakes and AI generated violence against women through
pictures. The lenticulars that shimmer between clothed and unclothed, between ‘virgin’ and
‘slut’, seem to link the contemporary opinions of the manosphere with those of the medieval
clerics. In other words that behind all pictures of women there is also always the shadow image
of her nude and debased for the gaze - after all, much was made of the fantasy of Joan’s comely
body and she was exposed naked on her pyre to establish that she was in fact female. From
seemingly innocent lenticulars to creepy AI, image culture reveals how the spectre of woman
as depraved sinner is always latent behind the perfect impenetrable exterior (and painted
surface) of the saint, and that the erotic thrill and justification for abuse has always been in the
imaginary oscillation between the two.’

Pensive
Wood, acrylic, 2970s lenticular, fibreglass , paper , tea
12cm x 35cm
2026
Jane Bustin

From @zerui.g •

Incorporeus Vol.I is now open💫 Featuring works by featuring works by Jane Bustin, Tomo Campbell, Joseph Kosuth, Steve McQueen, Rebeca Romero, Erik Swars and Danh Vo. Presented with Pareidolia foundation.

‘The history of modernity is filled with ideas that promised liberation while quietly producing new forms of absence. Every technological extension enlarges us while simultaneously distancing us from something else. Marshall McLuhan understood this with unusual clarity: media do not merely communicate experience; they reorganize perception itself. They extend the nervous system outward, until eventually the distinction between the human being and his extensions becomes unstable.
This instability may be the true territory of the immaterial.
Not the disappearance of matter, but the gradual displacement of presence.
The works gathered in Incorporeus Vol. I do not attempt to illustrate a theory. They inhabit a condition. Each work approaches, from a different angle, the possibility that the artwork is no longer entirely located within itself. Meaning drifts. Form loosens. Presence becomes uncertain.’

For all inquiries, please contact us via message and email to info@zerui.gallery

Photography @vinx_imagehead

@janebustin @tomocampbell @josephkosuthstudio  #stevemcqueen @romero.beca @erik.swars @votrungkydanh

#incorporeus #Pareidoliafoundation #ZÉRUÌ

From @zerui.g •

Incorporeus Vol.I is now open💫 Featuring works by featuring works by Jane Bustin, Tomo Campbell, Joseph Kosuth, Steve McQueen, Rebeca Romero, Erik Swars and Danh Vo. Presented with Pareidolia foundation.

‘The history of modernity is filled with ideas that promised liberation while quietly producing new forms of absence. Every technological extension enlarges us while simultaneously distancing us from something else. Marshall McLuhan understood this with unusual clarity: media do not merely communicate experience; they reorganize perception itself. They extend the nervous system outward, until eventually the distinction between the human being and his extensions becomes unstable.
This instability may be the true territory of the immaterial.
Not the disappearance of matter, but the gradual displacement of presence.
The works gathered in Incorporeus Vol. I do not attempt to illustrate a theory. They inhabit a condition. Each work approaches, from a different angle, the possibility that the artwork is no longer entirely located within itself. Meaning drifts. Form loosens. Presence becomes uncertain.’

For all inquiries, please contact us via message and email to info@zerui.gallery

Photography @vinx_imagehead

@janebustin @tomocampbell @josephkosuthstudio  #stevemcqueen @romero.beca @erik.swars @votrungkydanh

#incorporeus #Pareidoliafoundation #ZÉRUÌ

Delighted to be showing @allprojectslimited a beautifully curated show by @benniallan with a great group of artists.
Camilla Bliss, Jane Bustin, Thomas Pelleteu Grogsn, Anjali Kastiri, Seraphina Mutscheller, Ralph Parks.

Opening 22 May - 7 June
Mon - Fri 10 - 6pm
Sat - 10 - 4pm

ALL PROJECTS
Unit 3 , Mill Row
N1 5RL

Image
Bleaching
Cotton,wood, acrylic, dishcloth,tea, glycerin paper, copper rivets
Jane Bustin
2026

Delighted to be showing @allprojectslimited a beautifully curated show by @benniallan with a great group of artists.
Camilla Bliss, Jane Bustin, Thomas Pelleteu Grogsn, Anjali Kastiri, Seraphina Mutscheller, Ralph Parks.

Opening 22 May - 7 June
Mon - Fri 10 - 6pm
Sat - 10 - 4pm

ALL PROJECTS
Unit 3 , Mill Row
N1 5RL

Image
Bleaching
Cotton,wood, acrylic, dishcloth,tea, glycerin paper, copper rivets
Jane Bustin
2026

Delighted to be showing @allprojectslimited a beautifully curated show by @benniallan with a great group of artists.
Camilla Bliss, Jane Bustin, Thomas Pelleteu Grogsn, Anjali Kastiri, Seraphina Mutscheller, Ralph Parks.

Opening 22 May - 7 June
Mon - Fri 10 - 6pm
Sat - 10 - 4pm

ALL PROJECTS
Unit 3 , Mill Row
N1 5RL

Image
Bleaching
Cotton,wood, acrylic, dishcloth,tea, glycerin paper, copper rivets
Jane Bustin
2026

📣 On view at Independent Art Fair New York (@independent_hq) is a selection of new works by Jane Bustin, where abstraction is reimagined through a sensuous and materially layered approach.

Combining metal, wood, textiles, and photographic elements, Bustin constructs compositions that balance minimalist structure with intimate, almost tactile references. Drawing on a wide range of influences, from domestic rituals and beauty culture to historical iconography, her work folds the organic into controlled forms, echoing gestures of care such as laundering, baking, and assembling. Pale tones and reflective surfaces evoke spaces of quiet introspection, where objects shift between their material presence and their role as vessels for psychological projection.

📍 Visit us at Booth 214 to see Bustin’s new works!

#JaneBustin #IndependentArtFair #JaneLombardGallery

📣 On view at Independent Art Fair New York (@independent_hq) is a selection of new works by Jane Bustin, where abstraction is reimagined through a sensuous and materially layered approach.

Combining metal, wood, textiles, and photographic elements, Bustin constructs compositions that balance minimalist structure with intimate, almost tactile references. Drawing on a wide range of influences, from domestic rituals and beauty culture to historical iconography, her work folds the organic into controlled forms, echoing gestures of care such as laundering, baking, and assembling. Pale tones and reflective surfaces evoke spaces of quiet introspection, where objects shift between their material presence and their role as vessels for psychological projection.

📍 Visit us at Booth 214 to see Bustin’s new works!

#JaneBustin #IndependentArtFair #JaneLombardGallery

📣 On view at Independent Art Fair New York (@independent_hq) is a selection of new works by Jane Bustin, where abstraction is reimagined through a sensuous and materially layered approach.

Combining metal, wood, textiles, and photographic elements, Bustin constructs compositions that balance minimalist structure with intimate, almost tactile references. Drawing on a wide range of influences, from domestic rituals and beauty culture to historical iconography, her work folds the organic into controlled forms, echoing gestures of care such as laundering, baking, and assembling. Pale tones and reflective surfaces evoke spaces of quiet introspection, where objects shift between their material presence and their role as vessels for psychological projection.

📍 Visit us at Booth 214 to see Bustin’s new works!

#JaneBustin #IndependentArtFair #JaneLombardGallery

📣 On view at Independent Art Fair New York (@independent_hq) is a selection of new works by Jane Bustin, where abstraction is reimagined through a sensuous and materially layered approach.

Combining metal, wood, textiles, and photographic elements, Bustin constructs compositions that balance minimalist structure with intimate, almost tactile references. Drawing on a wide range of influences, from domestic rituals and beauty culture to historical iconography, her work folds the organic into controlled forms, echoing gestures of care such as laundering, baking, and assembling. Pale tones and reflective surfaces evoke spaces of quiet introspection, where objects shift between their material presence and their role as vessels for psychological projection.

📍 Visit us at Booth 214 to see Bustin’s new works!

#JaneBustin #IndependentArtFair #JaneLombardGallery

Delighted to be showing From a Mezzanine window at CYFEST - ‘What’sin a story’ curated by @barbara_london_calling at Ca Foscari University Venice programme starts 4.30pm Today

#venicebiennale

@janelombardgallery
@copperfield_london
@foxjensenmccrory
@foxjensengallery

@rothkomuseum

So many thanks to the brilliant curator @barbara_london_calling for including my video piece - From a mezzanine window in her video programme ‘what’s in a story ‘ with a fantastic group of artists in Venice .
Also thanks to the inspiring and special place @rothkomuseum .

Video programme 9th May 4.30pm at Ca Foscari University Venice

@janelombardgallery
@copperfield_london
@foxjensenmccrory
@foxjensengallery

So many thanks to the brilliant curator @barbara_london_calling for including my video piece - From a mezzanine window in her video programme ‘what’s in a story ‘ with a fantastic group of artists in Venice .
Also thanks to the inspiring and special place @rothkomuseum .

Video programme 9th May 4.30pm at Ca Foscari University Venice

@janelombardgallery
@copperfield_london
@foxjensenmccrory
@foxjensengallery

So many thanks to the brilliant curator @barbara_london_calling for including my video piece - From a mezzanine window in her video programme ‘what’s in a story ‘ with a fantastic group of artists in Venice .
Also thanks to the inspiring and special place @rothkomuseum .

Video programme 9th May 4.30pm at Ca Foscari University Venice

@janelombardgallery
@copperfield_london
@foxjensenmccrory
@foxjensengallery

So many thanks to the brilliant curator @barbara_london_calling for including my video piece - From a mezzanine window in her video programme ‘what’s in a story ‘ with a fantastic group of artists in Venice .
Also thanks to the inspiring and special place @rothkomuseum .

Video programme 9th May 4.30pm at Ca Foscari University Venice

@janelombardgallery
@copperfield_london
@foxjensenmccrory
@foxjensengallery

Tomorrow, Friday the 24th of April, is the final day of @janebustin ‘Sisters’.

St. Tabitha (also known as Dorcas) was a 1st-century Christian disciple and Seamstress in Joppa (now Tel Aviv) known for her charity, sewing clothes for the poor, and good works. When the people for whom she made clothes for came to mourn her, they each carried some cloth made by Tabitha.

St. Tabitha’s life is the line from the Bible Acts 9:39: “All the widows stood around [Peter], crying and showing him the robes and other clothing that Dorcas had made while she was still with them.” This beautiful testimony - the testimony of a community - tells us more about St. Tabitha than any lists of good deeds, however impressive. Their grief, the fibers of relationship and beauty that she wove and which was rent by the gaping hole of her loss, shows the real accomplishment of her life.

St Dorcas, 2024
Polyurethane, acrylic & wood
31 x 91 cm

St Tabitha, 2013
Polyurethane, wood, acrylic & oil
31 x 91 cm

#janebustin #foxjensenmccrory #stdorcas #sttabitha

Tomorrow, Friday the 24th of April, is the final day of @janebustin ‘Sisters’.

St. Tabitha (also known as Dorcas) was a 1st-century Christian disciple and Seamstress in Joppa (now Tel Aviv) known for her charity, sewing clothes for the poor, and good works. When the people for whom she made clothes for came to mourn her, they each carried some cloth made by Tabitha.

St. Tabitha’s life is the line from the Bible Acts 9:39: “All the widows stood around [Peter], crying and showing him the robes and other clothing that Dorcas had made while she was still with them.” This beautiful testimony - the testimony of a community - tells us more about St. Tabitha than any lists of good deeds, however impressive. Their grief, the fibers of relationship and beauty that she wove and which was rent by the gaping hole of her loss, shows the real accomplishment of her life.

St Dorcas, 2024
Polyurethane, acrylic & wood
31 x 91 cm

St Tabitha, 2013
Polyurethane, wood, acrylic & oil
31 x 91 cm

#janebustin #foxjensenmccrory #stdorcas #sttabitha

Tomorrow, Friday the 24th of April, is the final day of @janebustin ‘Sisters’.

St. Tabitha (also known as Dorcas) was a 1st-century Christian disciple and Seamstress in Joppa (now Tel Aviv) known for her charity, sewing clothes for the poor, and good works. When the people for whom she made clothes for came to mourn her, they each carried some cloth made by Tabitha.

St. Tabitha’s life is the line from the Bible Acts 9:39: “All the widows stood around [Peter], crying and showing him the robes and other clothing that Dorcas had made while she was still with them.” This beautiful testimony - the testimony of a community - tells us more about St. Tabitha than any lists of good deeds, however impressive. Their grief, the fibers of relationship and beauty that she wove and which was rent by the gaping hole of her loss, shows the real accomplishment of her life.

St Dorcas, 2024
Polyurethane, acrylic & wood
31 x 91 cm

St Tabitha, 2013
Polyurethane, wood, acrylic & oil
31 x 91 cm

#janebustin #foxjensenmccrory #stdorcas #sttabitha

Tomorrow, Friday the 24th of April, is the final day of @janebustin ‘Sisters’.

St. Tabitha (also known as Dorcas) was a 1st-century Christian disciple and Seamstress in Joppa (now Tel Aviv) known for her charity, sewing clothes for the poor, and good works. When the people for whom she made clothes for came to mourn her, they each carried some cloth made by Tabitha.

St. Tabitha’s life is the line from the Bible Acts 9:39: “All the widows stood around [Peter], crying and showing him the robes and other clothing that Dorcas had made while she was still with them.” This beautiful testimony - the testimony of a community - tells us more about St. Tabitha than any lists of good deeds, however impressive. Their grief, the fibers of relationship and beauty that she wove and which was rent by the gaping hole of her loss, shows the real accomplishment of her life.

St Dorcas, 2024
Polyurethane, acrylic & wood
31 x 91 cm

St Tabitha, 2013
Polyurethane, wood, acrylic & oil
31 x 91 cm

#janebustin #foxjensenmccrory #stdorcas #sttabitha

Tomorrow, Friday the 24th of April, is the final day of @janebustin ‘Sisters’.

St. Tabitha (also known as Dorcas) was a 1st-century Christian disciple and Seamstress in Joppa (now Tel Aviv) known for her charity, sewing clothes for the poor, and good works. When the people for whom she made clothes for came to mourn her, they each carried some cloth made by Tabitha.

St. Tabitha’s life is the line from the Bible Acts 9:39: “All the widows stood around [Peter], crying and showing him the robes and other clothing that Dorcas had made while she was still with them.” This beautiful testimony - the testimony of a community - tells us more about St. Tabitha than any lists of good deeds, however impressive. Their grief, the fibers of relationship and beauty that she wove and which was rent by the gaping hole of her loss, shows the real accomplishment of her life.

St Dorcas, 2024
Polyurethane, acrylic & wood
31 x 91 cm

St Tabitha, 2013
Polyurethane, wood, acrylic & oil
31 x 91 cm

#janebustin #foxjensenmccrory #stdorcas #sttabitha

Tomorrow, Friday the 24th of April, is the final day of @janebustin ‘Sisters’.

St. Tabitha (also known as Dorcas) was a 1st-century Christian disciple and Seamstress in Joppa (now Tel Aviv) known for her charity, sewing clothes for the poor, and good works. When the people for whom she made clothes for came to mourn her, they each carried some cloth made by Tabitha.

St. Tabitha’s life is the line from the Bible Acts 9:39: “All the widows stood around [Peter], crying and showing him the robes and other clothing that Dorcas had made while she was still with them.” This beautiful testimony - the testimony of a community - tells us more about St. Tabitha than any lists of good deeds, however impressive. Their grief, the fibers of relationship and beauty that she wove and which was rent by the gaping hole of her loss, shows the real accomplishment of her life.

St Dorcas, 2024
Polyurethane, acrylic & wood
31 x 91 cm

St Tabitha, 2013
Polyurethane, wood, acrylic & oil
31 x 91 cm

#janebustin #foxjensenmccrory #stdorcas #sttabitha

Last week of SISTERS @foxjensenmccrory beautiful catalogue available with brilliant essay by the wonderful Catherine McCormack @womeninthepicture with huge thanks to Andrew Jensen @foxjensengallery snd Sarah McCory @foxjensenmccrory for making this happen .

Last week of SISTERS @foxjensenmccrory beautiful catalogue available with brilliant essay by the wonderful Catherine McCormack @womeninthepicture with huge thanks to Andrew Jensen @foxjensengallery snd Sarah McCory @foxjensenmccrory for making this happen .

Last week of SISTERS @foxjensenmccrory beautiful catalogue available with brilliant essay by the wonderful Catherine McCormack @womeninthepicture with huge thanks to Andrew Jensen @foxjensengallery snd Sarah McCory @foxjensenmccrory for making this happen .

Last week of SISTERS @foxjensenmccrory beautiful catalogue available with brilliant essay by the wonderful Catherine McCormack @womeninthepicture with huge thanks to Andrew Jensen @foxjensengallery snd Sarah McCory @foxjensenmccrory for making this happen .

Last week of SISTERS @foxjensenmccrory beautiful catalogue available with brilliant essay by the wonderful Catherine McCormack @womeninthepicture with huge thanks to Andrew Jensen @foxjensengallery snd Sarah McCory @foxjensenmccrory for making this happen .

Last week of SISTERS @foxjensenmccrory beautiful catalogue available with brilliant essay by the wonderful Catherine McCormack @womeninthepicture with huge thanks to Andrew Jensen @foxjensengallery snd Sarah McCory @foxjensenmccrory for making this happen .

Last week of SISTERS @foxjensenmccrory beautiful catalogue available with brilliant essay by the wonderful Catherine McCormack @womeninthepicture with huge thanks to Andrew Jensen @foxjensengallery snd Sarah McCory @foxjensenmccrory for making this happen .

Last week of SISTERS @foxjensenmccrory beautiful catalogue available with brilliant essay by the wonderful Catherine McCormack @womeninthepicture with huge thanks to Andrew Jensen @foxjensengallery snd Sarah McCory @foxjensenmccrory for making this happen .

Last week of SISTERS @foxjensenmccrory beautiful catalogue available with brilliant essay by the wonderful Catherine McCormack @womeninthepicture with huge thanks to Andrew Jensen @foxjensengallery snd Sarah McCory @foxjensenmccrory for making this happen .

Last week of SISTERS @foxjensenmccrory beautiful catalogue available with brilliant essay by the wonderful Catherine McCormack @womeninthepicture with huge thanks to Andrew Jensen @foxjensengallery snd Sarah McCory @foxjensenmccrory for making this happen .

Last week of SISTERS @foxjensenmccrory beautiful catalogue available with brilliant essay by the wonderful Catherine McCormack @womeninthepicture with huge thanks to Andrew Jensen @foxjensengallery snd Sarah McCory @foxjensenmccrory for making this happen .

Last week of SISTERS @foxjensenmccrory beautiful catalogue available with brilliant essay by the wonderful Catherine McCormack @womeninthepicture with huge thanks to Andrew Jensen @foxjensengallery snd Sarah McCory @foxjensenmccrory for making this happen .

Friday the 24th of April is the final day to view Jane Bustin’s exhibition ‘Sisters’.

The catalogue, featuring an incredible essay by @womeninthepicture is now available on our website.

St Dymphna, 2020
Wood, aluminium, acrylic & 19th Century porcelain Lily
30 x 35 cm

Fox Jensen McCrory will be closed on Saturday the 25th of April for ANZAC day.

#janebustin #foxjensenmccrory