In the Memory of Mind and Material: ‘What Remains Within’ at Annely Juda Fine Art

Is memory merely a static archive shelved in the past, or a living residue that seeps into our bodies, textiles, and domestic objects, continually altering its form? Hosted in the historic Georgian townhouse of Annely Juda Fine Art in Hanover Square, London (1 October – 7 November 2026), What Remains Within offers a compelling site to trace this question. Curated by independent curator Paola Lucente, the exhibition brings together works by Chloe Bonfield, Kate Lyddon, and Zulfiya Spowart to explore the physical imprints left by memory and intergenerational transmission on the body and material alike.

Installed within the subdued, atmospheric Project Room on the gallery’s upper floor, the works reframe the act of remembering from a cognitive exercise into a tactile encounter. Moving through the space, one encounters the past not as a museum object preserved in stasis, but as an active archive continuously reshaped through contemporary practice.

Three Artists, Three Bodies, and the Language of Materiality

Painter Chloe Bonfield translates the intuitive brushstrokes born during the fragmented intervals of caregiving onto raw canvas. Transitioning from cheesecloth to unstretched surfaces, her swift, fluid paint handling manifests as figures looking away—situated within domestic interiors, woodlands, or dreamlike landscapes. The eerie psychological tension between intimacy and distance, presence and escape, organically surfaces through overlapping layers of pigment.

Kate Lyddon, by contrast, bleeds color directly into the weave of unprimed linen and jute rather than applying it onto the surface. On these grounds, where paint fuses with fabric fibers, bodies emerge, hovering between abstraction and figuration. In works where the presence of the artist’s own body and that of her daughter resolve into color fields, skeletal forms, or domestic objects, pigment becomes a living repository of memory.

Interdisciplinary artist Zulfiya Spowart delivers perhaps the exhibition’s most visceral sculptural statement. Drawing on her personal lineage to examine the impact of Soviet colonial politics and migration routes across Siberia and Central Asia on women, Spowart reconfigures the rocking horse—a traditional emblem of childhood stability and security. By altering its center of gravity and stripping away its ability to sway, this wooden sculpture quietly exposes fractured generational inheritance and somatic memory.

Transforming material, body, and object into archives of lived experience, What Remains Within stands as a deeply intimate, cinematic highlight of London’s autumn gallery season—an exhibition best experienced firsthand.