In this monthly roundup, we spotlight five stellar exhibitions at small and rising galleries.
Heeyoung Noh, “Submerged Attachment”
THE TAGLI, London
In Heeyoung Noh’s paintings, the Korean ritual of Ttaemiri—a vigorous exfoliation practice performed in communal bathhouses—is a metaphor for inherited trauma and the uneasy relationship between care and pain. This is perhaps the most evident in A Mother and Her Daughter (2024), an oil painting depicting two women staring at one another and holding hands in a bath. These intimate paintings of bathing rituals are the core of her solo show “Submerged Attachment” at THE TAGLI.
The centerpiece of Noh’s exhibition is Ttaemiri series (2023), a collection of 13 oil paintings on small wood panels depicting disembodied parts of a female body, arranged almost anatomically. There is, however, no face, as in many of her anonymized, figurative works. Here, she references the alienation of being a Korean woman living abroad: In works like Face 4 and Face 5 (both 2025), the subject’s skin appears to be inflamed and covered in water droplets, with facial features reduced or obscured—conveying the way diasporic identity can feel incomplete.
An MFA graduate from the Glasgow School of Art, Noh hosted her first solo exhibition at Salt Space in Glasgow in 2023. She was the recipient of the Tagli Mentorship Award in 2024.
