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Joanne Burke’s sculpture Festival 7 (2025) will be joining the permanent collection of the Baltimore Museum of Art, with thanks to The Sherman Family Foundation Acquisition Fund.

Joanne Burke
Festival 7, 2025
Bronze
22 x 17 x 9 cm

Joanne Burke’s sculpture Festival 7 (2025) will be joining the permanent collection of the Baltimore Museum of Art, with thanks to The Sherman Family Foundation Acquisition Fund.

Joanne Burke
Festival 7, 2025
Bronze
22 x 17 x 9 cm

We are pleased to announce the launch of Wonderland, a new book published on the occasion of Dean Sameshima’s current solo exhibition at Soft Opening, designed by Robert Milne. To celebrate, join us for a conversation between Dean Sameshima and writer Amelia Abraham who recently released her latest publication Sex, Clubs, Dissent: Visualising Queer Nightlife with Mack Publishing. Both books will be available to purchase at the event.

Sameshima’s second solo exhibition with the gallery, Wonderland, continues until Saturday, 23 May.

We are pleased to announce the launch of Wonderland, a new book published on the occasion of Dean Sameshima’s current solo exhibition at Soft Opening, designed by Robert Milne. To celebrate, join us for a conversation between Dean Sameshima and writer Amelia Abraham who recently released her latest publication Sex, Clubs, Dissent: Visualising Queer Nightlife with Mack Publishing. Both books will be available to purchase at the event.

Sameshima’s second solo exhibition with the gallery, Wonderland, continues until Saturday, 23 May.

Our solo presentation, A Boat Fish, with new works from Joanne Burke opens today in the Focus section at Frieze New York, Stand F02. We are delighted to have received an Honourable Mention for the Focus Stand Prize.

Burke’s complex process begins with a dispersal of molten wax into water, allowing unpredictable shapes and textures to form and be formed by their liquid surroundings. These casts become the genesis for metallic sculptures cast in bronze and aluminium, glinting inside glass-topped vitrines. Referencing museological or anthropological display, the presentation gestures to practices of preservation and historicisation and self-consciously resurrects undervalued or forgotten practices. Moulding her intricate wax forms using these techniques prior to casting, Burke excavates processes from the past including model-making, carpentry, costuming, weaving and basketry for their simple logic.

Gift of Winter, 2026
Bronze and aluminium
17 × 5 × 7 cm

Eve’s Compass, 2026
Bronze and aluminium
5 × 18 × 8 cm

Chirp of the Canary, 2026
Bronze
22 × 8 × 7 cm

Our solo presentation, A Boat Fish, with new works from Joanne Burke opens today in the Focus section at Frieze New York, Stand F02. We are delighted to have received an Honourable Mention for the Focus Stand Prize.

Burke’s complex process begins with a dispersal of molten wax into water, allowing unpredictable shapes and textures to form and be formed by their liquid surroundings. These casts become the genesis for metallic sculptures cast in bronze and aluminium, glinting inside glass-topped vitrines. Referencing museological or anthropological display, the presentation gestures to practices of preservation and historicisation and self-consciously resurrects undervalued or forgotten practices. Moulding her intricate wax forms using these techniques prior to casting, Burke excavates processes from the past including model-making, carpentry, costuming, weaving and basketry for their simple logic.

Gift of Winter, 2026
Bronze and aluminium
17 × 5 × 7 cm

Eve’s Compass, 2026
Bronze and aluminium
5 × 18 × 8 cm

Chirp of the Canary, 2026
Bronze
22 × 8 × 7 cm

Our solo presentation, A Boat Fish, with new works from Joanne Burke opens today in the Focus section at Frieze New York, Stand F02. We are delighted to have received an Honourable Mention for the Focus Stand Prize.

Burke’s complex process begins with a dispersal of molten wax into water, allowing unpredictable shapes and textures to form and be formed by their liquid surroundings. These casts become the genesis for metallic sculptures cast in bronze and aluminium, glinting inside glass-topped vitrines. Referencing museological or anthropological display, the presentation gestures to practices of preservation and historicisation and self-consciously resurrects undervalued or forgotten practices. Moulding her intricate wax forms using these techniques prior to casting, Burke excavates processes from the past including model-making, carpentry, costuming, weaving and basketry for their simple logic.

Gift of Winter, 2026
Bronze and aluminium
17 × 5 × 7 cm

Eve’s Compass, 2026
Bronze and aluminium
5 × 18 × 8 cm

Chirp of the Canary, 2026
Bronze
22 × 8 × 7 cm

Our solo presentation, A Boat Fish, with new works from Joanne Burke opens today in the Focus section at Frieze New York, Stand F02. We are delighted to have received an Honourable Mention for the Focus Stand Prize.

Burke’s complex process begins with a dispersal of molten wax into water, allowing unpredictable shapes and textures to form and be formed by their liquid surroundings. These casts become the genesis for metallic sculptures cast in bronze and aluminium, glinting inside glass-topped vitrines. Referencing museological or anthropological display, the presentation gestures to practices of preservation and historicisation and self-consciously resurrects undervalued or forgotten practices. Moulding her intricate wax forms using these techniques prior to casting, Burke excavates processes from the past including model-making, carpentry, costuming, weaving and basketry for their simple logic.

Gift of Winter, 2026
Bronze and aluminium
17 × 5 × 7 cm

Eve’s Compass, 2026
Bronze and aluminium
5 × 18 × 8 cm

Chirp of the Canary, 2026
Bronze
22 × 8 × 7 cm

Our solo presentation, A Boat Fish, with new works from Joanne Burke opens today in the Focus section at Frieze New York, Stand F02. We are delighted to have received an Honourable Mention for the Focus Stand Prize.

Burke’s complex process begins with a dispersal of molten wax into water, allowing unpredictable shapes and textures to form and be formed by their liquid surroundings. These casts become the genesis for metallic sculptures cast in bronze and aluminium, glinting inside glass-topped vitrines. Referencing museological or anthropological display, the presentation gestures to practices of preservation and historicisation and self-consciously resurrects undervalued or forgotten practices. Moulding her intricate wax forms using these techniques prior to casting, Burke excavates processes from the past including model-making, carpentry, costuming, weaving and basketry for their simple logic.

Gift of Winter, 2026
Bronze and aluminium
17 × 5 × 7 cm

Eve’s Compass, 2026
Bronze and aluminium
5 × 18 × 8 cm

Chirp of the Canary, 2026
Bronze
22 × 8 × 7 cm

Our solo presentation, A Boat Fish, with new works from Joanne Burke opens today in the Focus section at Frieze New York, Stand F02. We are delighted to have received an Honourable Mention for the Focus Stand Prize.

Burke’s complex process begins with a dispersal of molten wax into water, allowing unpredictable shapes and textures to form and be formed by their liquid surroundings. These casts become the genesis for metallic sculptures cast in bronze and aluminium, glinting inside glass-topped vitrines. Referencing museological or anthropological display, the presentation gestures to practices of preservation and historicisation and self-consciously resurrects undervalued or forgotten practices. Moulding her intricate wax forms using these techniques prior to casting, Burke excavates processes from the past including model-making, carpentry, costuming, weaving and basketry for their simple logic.

Gift of Winter, 2026
Bronze and aluminium
17 × 5 × 7 cm

Eve’s Compass, 2026
Bronze and aluminium
5 × 18 × 8 cm

Chirp of the Canary, 2026
Bronze
22 × 8 × 7 cm

Opening tomorrow, Soft Opening presents new work from Joanne Burke in the Focus section at Frieze New York, Stand F02.

Collaging elements together intuitively into surreal compositions, in these new works, Burke seeks to abstract any recognisable forms: a boat suddenly resembles a garden pond, a human organ transforms into a blossoming flower, an oyster becomes a shining Brancusi head and a fallen branch across a riverbank, twists into a delicate stem. For the artist, forms in the world around us constantly relate, conflate and converge in a perpetual state of movement and flux. Burke’s decision to resist, undo and abstract recognisability within her forms, renders them intangible and untameable, much like the water they were first imagined within.

Joanne Burke
Fear Infinity, 2026
Aluminium
31.5 × 67.5 × 5 cm

To request more information or a preview, contact info@softopening.london

Opening tomorrow, Soft Opening presents new work from Joanne Burke in the Focus section at Frieze New York, Stand F02.

Collaging elements together intuitively into surreal compositions, in these new works, Burke seeks to abstract any recognisable forms: a boat suddenly resembles a garden pond, a human organ transforms into a blossoming flower, an oyster becomes a shining Brancusi head and a fallen branch across a riverbank, twists into a delicate stem. For the artist, forms in the world around us constantly relate, conflate and converge in a perpetual state of movement and flux. Burke’s decision to resist, undo and abstract recognisability within her forms, renders them intangible and untameable, much like the water they were first imagined within.

Joanne Burke
Fear Infinity, 2026
Aluminium
31.5 × 67.5 × 5 cm

To request more information or a preview, contact info@softopening.london

Our solo presentation for Frieze New York with new work from Joanne Burke opens next week in the Focus section, Stand F02.

In her metallic sculptures and wall-based works, Burke is primarily concerned with hydrofeminism, a posthuman feminist phenomenology that understands the body as essentially linked to the natural world. Burke interprets water as an infinite, nonphysical essence that resists representation or definition.

Joanne Burke
Divers Arms, 2026
Bronze
13 × 6 × 4 cm

To request more information or a preview, contact info@softopening.london

Our solo presentation for Frieze New York with new work from Joanne Burke opens next week in the Focus section, Stand F02.

In her metallic sculptures and wall-based works, Burke is primarily concerned with hydrofeminism, a posthuman feminist phenomenology that understands the body as essentially linked to the natural world. Burke interprets water as an infinite, nonphysical essence that resists representation or definition.

Joanne Burke
Divers Arms, 2026
Bronze
13 × 6 × 4 cm

To request more information or a preview, contact info@softopening.london

Our solo presentation for Frieze New York with new work from Joanne Burke opens next week in the Focus section, Stand F02.

In her metallic sculptures and wall-based works, Burke is primarily concerned with hydrofeminism, a posthuman feminist phenomenology that understands the body as essentially linked to the natural world. Burke interprets water as an infinite, nonphysical essence that resists representation or definition.

Joanne Burke
Divers Arms, 2026
Bronze
13 × 6 × 4 cm

To request more information or a preview, contact info@softopening.london

Rhea Dillon is currently included in Weather Stress Index, a group exhibition curated by Truth Murray-Cole at the Hessel Museum of Art, Center for Curatorial Studies, Bard College, until 24 May.

A new commission by Dillon brings an artwork coated in anti-climb paint—a non-drying substance often used on architecture to deter movement—into a museum context.

Rhea Dillon
IV: Severance From The Spliced Womb
2026
Anti-climb paint on metal
46 × 4 × 61 cm (18 × 1.5 × 24 inches)
Courtesy of the artist
Commissioned for Weather Stress Index, April 4 – May 24, 2026, Graduate thesis project curated by Truth Murray-Cole, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York
Photo: Alon Koppel 2026

Rhea Dillon is currently included in Weather Stress Index, a group exhibition curated by Truth Murray-Cole at the Hessel Museum of Art, Center for Curatorial Studies, Bard College, until 24 May.

A new commission by Dillon brings an artwork coated in anti-climb paint—a non-drying substance often used on architecture to deter movement—into a museum context.

Rhea Dillon
IV: Severance From The Spliced Womb
2026
Anti-climb paint on metal
46 × 4 × 61 cm (18 × 1.5 × 24 inches)
Courtesy of the artist
Commissioned for Weather Stress Index, April 4 – May 24, 2026, Graduate thesis project curated by Truth Murray-Cole, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York
Photo: Alon Koppel 2026

Rhea Dillon is currently included in Weather Stress Index, a group exhibition curated by Truth Murray-Cole at the Hessel Museum of Art, Center for Curatorial Studies, Bard College, until 24 May.

A new commission by Dillon brings an artwork coated in anti-climb paint—a non-drying substance often used on architecture to deter movement—into a museum context.

Rhea Dillon
IV: Severance From The Spliced Womb
2026
Anti-climb paint on metal
46 × 4 × 61 cm (18 × 1.5 × 24 inches)
Courtesy of the artist
Commissioned for Weather Stress Index, April 4 – May 24, 2026, Graduate thesis project curated by Truth Murray-Cole, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York
Photo: Alon Koppel 2026

Rhea Dillon is currently included in Weather Stress Index, a group exhibition curated by Truth Murray-Cole at the Hessel Museum of Art, Center for Curatorial Studies, Bard College, until 24 May.

A new commission by Dillon brings an artwork coated in anti-climb paint—a non-drying substance often used on architecture to deter movement—into a museum context.

Rhea Dillon
IV: Severance From The Spliced Womb
2026
Anti-climb paint on metal
46 × 4 × 61 cm (18 × 1.5 × 24 inches)
Courtesy of the artist
Commissioned for Weather Stress Index, April 4 – May 24, 2026, Graduate thesis project curated by Truth Murray-Cole, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York
Photo: Alon Koppel 2026

Rhea Dillon is currently included in Weather Stress Index, a group exhibition curated by Truth Murray-Cole at the Hessel Museum of Art, Center for Curatorial Studies, Bard College, until 24 May.

A new commission by Dillon brings an artwork coated in anti-climb paint—a non-drying substance often used on architecture to deter movement—into a museum context.

Rhea Dillon
IV: Severance From The Spliced Womb
2026
Anti-climb paint on metal
46 × 4 × 61 cm (18 × 1.5 × 24 inches)
Courtesy of the artist
Commissioned for Weather Stress Index, April 4 – May 24, 2026, Graduate thesis project curated by Truth Murray-Cole, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York
Photo: Alon Koppel 2026

Thank you to everyone who came by our presentation of works from Joanne Burke, Olivia Erlanger, Gina Fischli, Sam Lipp, Dean Sameshima and Ebun Sodipo at Miart, Milan.

Olivia Erlanger
eros (0° S, or naught), 2026
Bronze
56 × 3 × 3 cm

Joanne Burke
Hung as a Globe, 2025
Aluminium
42.5 x 41.5 x3.5 cm

Thank you to everyone who came by our presentation of works from Joanne Burke, Olivia Erlanger, Gina Fischli, Sam Lipp, Dean Sameshima and Ebun Sodipo at Miart, Milan.

Olivia Erlanger
eros (0° S, or naught), 2026
Bronze
56 × 3 × 3 cm

Joanne Burke
Hung as a Globe, 2025
Aluminium
42.5 x 41.5 x3.5 cm

Thank you to everyone who came by our presentation of works from Joanne Burke, Olivia Erlanger, Gina Fischli, Sam Lipp, Dean Sameshima and Ebun Sodipo at Miart, Milan.

Olivia Erlanger
eros (0° S, or naught), 2026
Bronze
56 × 3 × 3 cm

Joanne Burke
Hung as a Globe, 2025
Aluminium
42.5 x 41.5 x3.5 cm

Nevine Mahmoud’s solo exhibition Second Nature is now open at Asia Society Texas. The exhibition runs until 4 October, 2026.

Mahmoud unearths uncanny worlds from stone: jumbo-sized fruits drip with glass, a contorted marble faun arcs like an acrobat, and children’s toys are immortalized in white alabaster. Though her subjects range from the luscious to the surreal to the playful, Mahmoud’s sculptures manipulate our understanding of nature. For Second Nature, Mahmoud’s works, including a new commission, are placed throughout Asia Society Texas’ public spaces.

Nevine Mahmoud
My Adolescent Pony, 2026 
White Italian alabaster
61 × 40.6 × 39.4 cm

Our group presentation with works from Joanne Burke, Olivia Erlanger, Gina Fischli, Sam Lipp, Dean Sameshima and Ebun Sodipo continues today for the final day of Miart. Find us in the Established section at booth D03.

Ebun Sodipo
Self Portrait / I am my ancestors’ tongue, 2026
Mylar, digital prints, resin
240 × 120 cm

Sam Lipp
Flood, 2025
Oil on steel, spray paint, screws
33 × 43 cm

Our group presentation with works from Joanne Burke, Olivia Erlanger, Gina Fischli, Sam Lipp, Dean Sameshima and Ebun Sodipo continues today for the final day of Miart. Find us in the Established section at booth D03.

Ebun Sodipo
Self Portrait / I am my ancestors’ tongue, 2026
Mylar, digital prints, resin
240 × 120 cm

Sam Lipp
Flood, 2025
Oil on steel, spray paint, screws
33 × 43 cm

Our group presentation of work from Joanne Burke, Olivia Erlanger, Gina Fischli, Sam Lipp, Dean Sameshima and Ebun Sodipo opens today at Miart, Milan. Find us in the Established Section at Stand D03.

Our group presentation of work from Joanne Burke, Olivia Erlanger, Gina Fischli, Sam Lipp, Dean Sameshima and Ebun Sodipo opens today at Miart, Milan. Find us in the Established Section at Stand D03.

Our group presentation of work from Joanne Burke, Olivia Erlanger, Gina Fischli, Sam Lipp, Dean Sameshima and Ebun Sodipo opens today at Miart, Milan. Find us in the Established Section at Stand D03.

Dean Sameshima’s Anonymous Portraits will be included in our group presentation next week at Miart in Milan. Find us at Stand D03 in the Established section of the fair. The artist’s current solo exhibition at the gallery in London continues until Saturday 23 May.

Anonymous After Dark, 2026
Silkscreen and acrylic on canvas
30 × 40 cm

To request more information or a preview, contact info@softopening.london

Dean Sameshima’s Anonymous Portraits will be included in our group presentation next week at Miart in Milan. Find us at Stand D03 in the Established section of the fair. The artist’s current solo exhibition at the gallery in London continues until Saturday 23 May.

Anonymous After Dark, 2026
Silkscreen and acrylic on canvas
30 × 40 cm

To request more information or a preview, contact info@softopening.london

The gallery will be closed for the Easter bank holiday weekend, from Friday 4 April until we reopen on Wednesday 8 April.

Gina Fischli
Under Conservation Series (Bunny Triplets), 2020
Ink on paper in polyurethane-sprayed frame with lacquered metallic finish
48.8 × 36.5 × 3 cm