Posts by Bella Blake

Well-trodden tracks, reimagined routes and peripheral pathways map THE TAGLI's latest group exhibition 'New Geographies', presenting wide-ranging responses to actual and emotional landscapes. Considering how we at once navigate, interpret and construct our own surroundings, the assembled artists touch on psychogeographic examinations of self identity, the ever-changing topography of memory and architectural adaptations within public and private space. 

Artists such as Thomas Cameron and Nassim L'Ghoul turn directly to their environment as a source for subject matter, offering timely reflections on the lived-experience of existing within a twenty-first century city. Cameron's solitary figures inhabit immediately recognisable urban settings, complete with contemporary street furniture, shop windows and service counters. Just as his paintings serve to expose the unexpected anonymity and loss of individual identity that comes from acclimatising into a metropolitan society, L'Ghoul's cast metal miniatures focus their attention on the debris and detritus that these collective consumers discard. The littered surfaces of certain German streets are rendered in hyper-real, almost religious, reliefs that elevate the overlooked, ground-level remnants of everyday life.

Similarly drawing from pre-existing, societal sources, Afonso Rocha presents a skewed, subverted exploration of those inter-personal relationships that play out in public. Figures are transplanted into an idealised, caricatured exterior of lush green lawns, bright blue skies and perfectly-plump white clouds - against which they perform scenes of imagined intimacy, as if inhabiting a testing ground for awkward experimentation. Such world-building, the act of inventing an exterior world that more accurately reflects one's interior concerns, ideas and identity, is also evidenced in the practices of Tom Woolner and Piers Alsop. Constructed by the layered piping of pigmented acrylic resin, Woolner's archeological panels present as part-painting, part-fresco, part-fossil. Pastoral, corporeal compositions rendered in a pastel palette appear intestinal as the fluid medium banished any and all hard-edged angles in favour of a landscape of soft corners and smooth curves. The characteristic warp and weft of Alsop's jute canvases, meanwhile, serve as the theatrical backdrop to staged sets that sit as if awaiting activation. Embracing abstraction, ambiguity and yet potent with potential, each sentimental vignette is imbued with the awareness of an imminent, implied narrative.

Elsewhere, works by Leon Scott-Engel and Toni de Jesus offer material responses to their immediate environs. The former's hand-made, curved canvases adhere to the pre-existing architecture of the space, and have been known to tuck themselves into or curve around corners, on occasion even slumping anthropomorphic onto the floor below. Scott-Engel's painted panels too appear acutely aware of their own medium, with his intimate, cropped compositions at once interrupting and embracing the wood grain. Toni de Jesus' terracotta and porcelain sculptures, however, act as if in opposition to their physicality. Vessels precariously held-up by spindly, supporting protrusions highlight both their inherent fragility and the more conceptual instability the artist feels working at the much-debated intersection between craft and fine art.

Finally, Lucas Dupuy and Harm Gerdes demonstrate abstraction's ability to interrogate and elucidate our relationship to space. Mark-making primarily with airbrushed acrylic, both artists present shapes and forms seemingly unconfined to the borders of any particular picture plane. Such implications of an unseen yet continued existence demonstrates an empathic observation of their surroundings and what it means to move into, out of and through an as-yet-unmapped terrain.

Our founder Dimitrios Tsivrikos sat down with renowned interior designer Christian Bense for an insightful discussion on blending art and interior design. This conversation was a part of The London Design Week 2025 Access All Areas Programme, taking place Tuesday 11th March. 

DT: Christian, could you start by sharing the core philosophy that guides your work as an interior designer?

CB: We have a saying in the studio: “Establish first what is right for the home, then what is right for the client, and then establish a style that works for both.”

At its core, this implies an objective approach to the way we design—ensuring that we have thought about more than just the immediate wants and "nice-to-haves," and focusing instead on finding the right solution regardless of style.

The “style” element of a design can easily be incorporated once you have an ironclad solution to what is right for the home.

DT: Your designs have a wonderful balance of timelessness and character. What’s your approach to ensuring a space feels lived-in yet refined?

Our ideal project is a “forever home.” To me, a forever home is one that stands the test of time—feeling as though it has been designed over a period of years rather than being trend-led or confined to a single era.

A forever home features layers of materials and textures; it doesn’t try to be "matchy-matchy." When you apply these principles to a design, you can still create a lived-in home—one with life and character—without sacrificing a tailored and refined feel. Art plays an enormous role in this for us, as I truly see artwork as transformative to a space and the ultimate finishing touch.

DT: For someone (either a homeowner or an interior designer) looking to incorporate art into their projects, where should they start?

CB: I’m not one for throwaway advice when it comes to interior design, so I really dislike it when people say, “Just have fun with it” or “Follow your gut.” But when it comes to art, I often find that people struggle because they overthink it.

There are designers who will tell you to “start with art,” but I feel this creates a barrier to entry—implying that you need to love a piece enough to design an entire room around it. I see art as an accessory to a room—a finishing touch that adds variety and interest—not the starting point of a scheme.

So, in this case, I would say: don’t overthink it when it comes to art. The room and the art do not need to match. Choose pieces you absolutely love—this will make the beginning of your “art journey” much easier to embark on.

DT: Commissioning artists can be a game-changer for a space. How do you approach selecting the right artist for a project, and why is it important?

CB: I’ll be honest—I’m 50/50 when it comes to commissioning pieces. When we’ve done this for clients, it’s usually because we need something highly specific in terms of scale or subject matter, and a commission is the best way to achieve that.

When we do commission pieces, it’s often because a client has a favorite artist, and commissioning a piece is a perfect way to create something unique to them. I would always keep that in mind—if you’re commissioning something, make sure it’s personal to you.

Where commissions can sometimes be a letdown is when you start defining too many parameters for the artist, which can, at times, stifle their creativity. It’s rare, but it’s important to ensure that meeting your brief doesn’t go beyond what the artist naturally does best.

You should always be inspired by an artist’s work in general and avoid commissioning a piece simply to replicate a client’s previous work or copy another. A commission is an opportunity to own something one-of-a-kind, but it’s equally important to honor the artist’s creative process.

It’s important to have an idea of where art will go in a room and what you want it to achieve. For example, should it act as a focal point, or does it need to help... with the proportions of a room. Does it need to add some colour some softness etc. Going back to my comment about establishing what is right for the room will help you provide parameters to your selection process, which is often needed when the options and endless.

DT: Mixing contemporary and antique pieces can be tricky. Do you have any rules or tricks for making them work together seamlessly?

CB: I’m quite relaxed when it comes to mixing styles because I like art to feel as though it’s been added over time. In that regard, I focus more on the composition of the artwork on the wall or within the room. However, for clients who prefer more structure and order, we spend a lot of time and energy on how pieces are framed.

If you maintain a common thread in how you frame pieces—particularly those hung as a group or series—you can mix periods and mediums to your heart’s content while still creating a sense of cohesion.

That doesn’t mean all frames should match, but reframing pieces with intention allows you to adapt elements of the artwork to better connect with the overall scheme or other pieces of art.

DT: Lighting can transform how art is perceived in a space. What are your top lighting tips to make artworks shine?

CB: If you are in a position to adapt lighting to suit the space, it’s crucial to plan where your art will go so you can tailor the lighting accordingly.

When it comes to lighting art, one size doesn’t fit all. If you have a wall or space where you know there will always be a large piece, this is an opportunity to make lighting that artwork a feature—you might consider picture lights or ceiling spotlights. While the artwork may change over the years, planning for it ensures the room is adaptable.

Plug-in wall lights are a great solution when you’re perhaps not in a position to finalise the exact location of your fitted lighting. We often include adjustable lights in our schemes, allowing you to tilt the head to direct light toward or away from the artwork as needed.

Not to beat a dead horse—but if you’re undertaking a renovation and know that artwork will play a role in the design, plan ahead. Think about what is right for the room first, and you’ll have all the options available to you when selecting artwork later.

DT: What’s your take on ‘statement pieces’—should every space have one, or is subtle layering more effective?

In my home, I have a mix of both in the same room—partly out of necessity, as I have quite a lot of art. I mentioned this earlier, but I think it’s important to ask what the artwork needs to achieve in a space.

Is it a large photograph that adds depth to a room or a space with a less-than-ideal view? Is it a series of smaller pieces that invite you to step closer and engage with otherwise empty areas? Or are they bold, large-scale works that make a statement and are visible from multiple vantage points?

Think about what is right for the room—what the room needs—and then find a piece that fulfills that purpose.

DT: What role does storytelling play in how you select and place art in an interior?

CB: There are two ways you can look at this. Do you have a story to tell about each piece of art? Ideally, yes. It might sound pretentious but having some sort of story to tell and a personal connection to a piece is really great, as it encourages you to think beyond whether the piece will fit into a room or not.

The other way art impacts storytelling ties back to the idea that art is an accessory. Just like in fashion or even baking, the right accessory can help drive the story home. If you want a space to feel chic and sophisticated, maybe photography or etchings will help. Likewise, if you want a space to feel more grown-up or formal, oil paintings in ornate frames can help. Regardless of the room’s style, I believe the selection of artwork can provide that point of difference between spaces.

DT: What’s one piece of advice you’d give to someone hesitant to take risks with art in their home?

CB: Quite simply, only buy pieces you love. That way, you’re not taking a risk on the artwork—only on where you hang it.

DT: When incorporating art into interiors, what’s the biggest mistake people make, and how can they avoid it?

CB: For me, it’s one of two things: being monotonous or being confused. Only buying the same type of art will make for a boring home and stifle the storytelling element, but equally, not being able to edit can make spaces feel confused.

Zone off your art styles so each piece can shine, rather than cramming them all into one space. Also, ensure the artworks are allowed to shine by not crowding them with pieces of another style.

Buying art isn’t just about filling your walls with anything. Make sure you don’t diminish the impact of the art by taking an “anything goes” approach to how or where it is hung.