Image: Upsilon Gallery, New York
Upsilon Gallery will present 'What Remains Visible', a group exhibition in London running from 20 August to 26 September 2026. The show brings together painting and photography by Tonye Ekine, Lu Gan, Katie Kaur, Jenny Lewis and Ruarí Milne, and is framed around light as both a visual condition and a material through which memory, perception and history are negotiated.
The exhibition is listed as a forthcoming project at Upsilon Gallery London, with an opening reception on Thursday 20 August from 6 to 8 pm at 64 Grosvenor Street, W1K 3JH. Upsilon’s website identifies the gallery as operating in New York, London and Milano, and the London venue is named in the exhibition materials as the site for this show.
According to the gallery’s press text, 'What Remains Visible' starts from the idea that visibility is never neutral. Rather than presenting transparent descriptions of the world, the exhibition asks how meaning is constructed through acts of looking. Light is described as functioning across the works as atmosphere, structure, gesture and witness, shaping what is revealed and what remains unresolved.
Each artist’s practice is presented as approaching visibility from a distinct angle. Lu Gan’s paintings are described as occupying a shifting terrain between memory and imagination, where interiors, landscapes and fleeting encounters dissolve into compositions that resist fixed perspective. Ruarí Milne’s work is framed as a process of excavation, built through layers of oil paint, abrasion and erasure so that luminosity emerges from within the surface itself.
Katie Kaur’s paintings, the gallery says, unfold through fluid washes of pigment interrupted by hand-stitched canvas, with figures moving through aqueous landscapes that draw on the geography and cultural memory of Punjab. Tonye Ekine’s figurative compositions consider the relationship between contemporary experience and inherited histories, including recurring motifs such as the Bronze Head from Ife, which the press text describes as active cultural forms for exploring identity, memory and continuity.
Jenny Lewis extends the exhibition into photography. Upsilon says her collaborative practice approaches photography not as objective documentation but as a space of encounter, using light to register vulnerability, resilience and shared experience. The show’s premise is that the five artists, while working in distinct visual languages, are united by an interest in the limits of perception and the instability of the image.
The gallery’s materials also include examples of works in the exhibition: Ekine’s 'Waiting on the Sunshine' (2025), Milne’s 'Light solo for your Crises' (2026), Lu Gan’s 'Burn' (2026), Lewis’s 'Inprint' (2024) and Kaur’s 'Fond Farewell' (2026). Upsilon says the exhibition proposes that visibility is continually shaped by material, memory and time, and that what remains visible is not only the image itself, but the traces it leaves behind.
