BLEUR Gallery & Studios is pleased to present Lines of Flight, a group exhibition curated by Phenotypica Art & Science (Neus Torres Tamarit and Ben Murray), bringing together seven artists working at the intersection of art, science, and technology. The exhibition opens with a private view on 28 January 2026 and runs until 11 February 2026.
Lines of Flight is a concept from post-humanist philosophers Gilles Deleuze and Félix Guattari. It refers to paths of escape, transformation and becoming that break away from rigid structures, identities and hierarchies.
The artworks selected for this exhibition exist in a space that is heavily intersected by post-humanist ideas, via one or more aspects of its multi-faceted lens. Some serve to reframe anthropomorphic thinking, to give us new perspectives. Some comment on the intertwined relationship between human and technic, and the emergent aspects of this that we must deal with as a species and as individuals at a time when new forms of intelligence are threatening our traditional identities. The selected artworks offer us ways of thinking that move beyond rigid categories separating humans from animals, machines, or nature. All of them offer clues, commentary, or intuitive tools by which we may find our own Lines of Flight, enabling us to continue to find our way in a rapidly changing landscape.
Featured Artists
The exhibition features seven artists working across sculpture, installation, painting, moving image and digital media, united by their engagement with post-humanist ideas and the entanglement of human and other-than-human systems.
Adam Peacock examines how biotechnology, algorithmic systems, and platform economies shape identity and behaviour. Featuring a new artwork, Resisting Optimisation, this series forms part of Peacock’s ESRC-supported PhD research in Visual Cultures at Goldsmiths, University of London, which investigates AI-integrated digital systems and the development of tools for navigating AI-integrated subjectivity.
Karen Tang works with cyanobacteria, ancient photosynthesising microorganisms that fundamentally shape Earth's biosphere, as living sculptural partners. Presenting new work developed through her PhD research at Central Saint Martins' Living Systems Lab, the Magnetic Combo sculptures allude to high-modernist sculpture but serve as supports for microbial life, disrupting anthropocentric hierarchies and expanding what we perceive as sculptural material. Tang is represented by l'étrangère gallery.
Katya Sykes explores fungal-human relationships through sculpture and performance, engaging with mycelium to investigate decentralised processes of transformation across ecological, sociological, and deep-time contexts. Presenting new work, Sykes foregrounds other-than-human intelligences while calling into question human exceptionalism, extractive logics, and ideologies of control.
Louise Beer examines how technology both connects us to, and fractures us from, ways of knowing and understanding the universe. With her collaborator John Hooper, as Pale Blue Dot Collective, they present Last Verse, a dual-screen film depicting two temporalities: the perspective of a non-human animal and a cosmic time frame. Are we cosmically insignificant, or cosmically significant? Beer is currently Artist in Residence at the Institute of Astronomy, University of Cambridge.
Phenotypica (Neus Torres Tamarit + Ben Murray) presents two bodies of work: Gender A–Gender B (I-II), part of the Agonism/Antagonism project done in response to Tamarit’s year long residency at University College London’s Department of Genetics, Evolution and Environment, which de-anthropomorphises our understanding of sex, mutation, and genetic evolution, and The Chaos of Raw Unknowing, an artwork commissioned by The National Gallery X, UKRI-TAS, and Ali Hossaini, exploring trust in artificial intelligence and the dangers of assuming that computer vision systems see and understand as humans do.
Sarah Gilbert addresses notions of control through technology and the problem of proletarianisation emanating from technics, heavily incorporating digital tools within her painting practice. Presenting new work, her fragmented figures emerge as empty shells: avatars ever becoming rather than fixed identities. Through distortion and rupture, bodies under pressure attempt to escape themselves, bearing the weight of invisible forces. Gilbert draws on Stiegler's concept of psychopower to explore the fragility of identity in an age dominated by marketing, labour and self-representation.
About Bleur
Born in 2019 in South London, Bleur is the first independent visual art label championing emerging voices to challenge the status quo. Led by entrepreneur Aurelia Islimye and artist Ana Aguirre, Bleur combines the traditional model of an art gallery with a strong avant-garde advocacy voice.
BLEUR gallery & studios is part of Westminster City Council’s Meanwhile On initiative, which provides innovative projects with access to high-profile vacant spaces. The programme offers significant business rate relief and support from project delivery partner Someday Studios. Rent-free occupancy made possible by The Portman Estate. www.bleurstudios.com