Find a way into the programme
Search artist names, exhibition titles and the complete journal text. Include gallery pages when you want practical information about visiting, the workshop or Ternform's story.
Start with a name, material or question
Try a name such as Nora, a material such as paint or a subject such as colour. These programme suggestions are starting points, not search matches.
Artists
Cassian Vale
Figurative mural studies, painted hands and the tension between gesture and colour.
Artists
Nora Fen
Public lettering, revision and the conditions under which a wall addresses its reader.
Artists
Suri Calder
Painted faces, interrupted recognition and the relation between public image and private attention.
Exhibitions
Gesture Ledger
Cassian Vale follows the expressive weight of a painted hand, considering how a gesture stays readable when colour, scale and the surrounding wall complicate its meaning. An exhibition about recognition and the attention that comes after it.
Exhibitions
Afterlight Hours
Ivo Selden's nested colour bands turn a simple structure into an extended looking exercise. Follow the edges around a corner and discover how repetition can make a small change of interval feel unexpectedly consequential.
Exhibitions
Public Second Thoughts
Nora Fen examines the confidence of public lettering and the revisions that complicate it. Words meet doorways, painted-out edges and passing readers in an exhibition about what a wall contributes to the message it carries.
Exhibitions
Drift Instructions
Pale folds and darker pockets offer routes through Mira Venn's abstract practice. Begin at an edge and follow the moment when a form changes direction, loses its boundary or makes space for another reading.
Exhibitions
Soft Monument
Jonas Pell considers the quiet authority of a bust, a base and an ordinary covering. Wrapping becomes the centre of attention in an exhibition that asks which part of an arrangement turns an object into a monument.
Exhibitions
Faces in Common
Suri Calder follows the recognition of a painted face through masks, colour bands and interruptions. Look beyond the first familiar feature to examine how a public image invites a reading and leaves room for another.
Exhibitions
Ground Register
Ada Lorne examines the record left by layered paint: ridges, exposed grounds and bright marks crossing a stronger direction. A programme of close looking at what a surface reveals, and what it keeps uncertain.
Exhibitions
Ordinary Spectra
Cassian Vale moves from a recognisable figure to colour that carries a gesture of its own. Broad fields, narrow gaps and changes of pressure connect this summer exhibition with the questions first explored in Gesture Ledger.
Exhibitions
Colour Holds
Folded-looking colour fields extend Ivo Selden's enquiry into edges and intervals. Highlights suggest ridges and darker passages imply support, asking how much of an apparent surface is visible and how much a viewer supplies.
Exhibitions
Face as Weather
Elin Rook considers a staged face through the light, pigment and surrounding colour that shape its reading. A forthcoming exhibition about the conditions of a portrait and the limits of what a vivid image can tell us.
Journal
Tomas Reeve Makes the Corner Part of the Painting
A painted room changes as its viewer moves. Tomas Reeve’s installation offers a useful test of where an image ends and an exhibition begins.
Journal
Anya Quill’s Workshop Begins with a Line Worth Repeating
A beginner session moved from tool trials to a small shared wall exercise, using repeated marks to make decisions visible and discussion practical.
Journal
What a Working Studio Needs Between One Attempt and the Next
Drying space, a useful shelf and a place to disagree can shape a practice as much as a large window. A closer look at studio arrangements.
Journal
Ren Ito on Making a Small Object Hold Its Own Weight
A conversation about cardboard wedges, an unsuccessful plaster trial and why a prototype should remain easy to question after it begins to look finished.
Journal
Leyla Mott Draws the Same View from an Unreliable Memory
Field drawing becomes a conversation between what is in front of the artist and what remains after leaving. Leyla Mott explains the gaps she keeps.
Journal
A Public Installation Lets the Rain Alter Its Argument
Unfired clay panels change at different speeds in a temporary installation. Their uneven surfaces offer an environmental metaphor whose limits remain visible.
Journal
Working Apart Starts with Agreeing What the Other Person Can See
A practical August studio note on remote collaboration: name the version, show the scale and distinguish a request for feedback from a request to approve.
Journal
A Studio Visit on Screen Needs More Than a Moving Camera
A proposed screen visit uses a room plan, still details and pauses to build an account of work in progress without pretending to replace the room itself.
Journal
A Digital Fold Begins with a Decision About Its Edge
From a paper sketch to a lit three-dimensional scene, a small modelling exercise reveals how geometry, surface and viewpoint can pull an image in different directions.
Journal
Nora Fen Gives a Public Statement Room to Be Reconsidered
Looking back at Public Second Thoughts, where spacing, revision and the position of the reader unsettled the certainty of large painted words.
Journal
Elin Rook Finds a Portrait’s Starting Point Beside the Face
Before Face as Weather, Elin Rook discusses reflected colour, a failed lighting trial and the conversation that makes a staged portrait a shared construction.
Journal
After Ordinary Spectra, Cassian Vale Tests a Gesture Without a Figure
Cassian Vale looks back at the summer exhibition and forward to a new studio experiment, asking how a turn, a gap and a change of colour can carry movement.
Journal
How Cassian Vale Built the Distance Inside Gesture Ledger
The spring exhibition followed painted hands from an intimate drawing to a public scale. Its material tests reveal why enlargement changes more than size.
Journal
An Acrylic Workshop Finds the Picture in the Second Layer
A limited palette, patient drying intervals and specific peer observations helped a painting session move beyond the search for a single perfect colour.
Journal
Nora Fen on Doubt, Useful Criticism and Knowing What to Revise
Public lettering carries a confident voice, but making it involves less certain decisions. Nora Fen describes a practical way to hear criticism without surrendering the work.
Journal
Looking Ahead to 2027: Elin Rook’s Face as Weather
The next programme year opens a conversation about staged portraits, changing colour and the limits of a first impression. A guide to the exhibition and ways into its questions.
Gallery pages
The Ternform Gallery
A gallery for painted walls, restless colour and objects with more than one reading. Meet the artists, follow an exhibition and find a question worth taking into the room.
Gallery pages
A gallery built around looking
Give every visitor a particular place to begin, enough context to keep looking and room to arrive at an interpretation that can remain their own.
Gallery pages
Start with a conversation
Plan a visit, think through an event or prepare a question about the programme. The information here belongs to Ternform's fictional gallery edition.
Gallery pages
First Marks, Open Walls
A considered start with surfaces, colour and controlled marks. Anya Quill's beginner workshop outline moves from looking at public images to planning a small composition of your own.
Gallery pages
Artists with a different starting point
Eight practices, from painted gestures and public lettering to constructed faces, sculptural arrangements and the space beside a colour. Follow an artist into the programme and the questions that sustain their work.
Gallery pages
Look through the programme
A selection from the 2026–27 programme, arranged as a route through images, objects and ways of looking. The complete archive includes all ten exhibition accounts.
Gallery pages
Notes from the gallery
Longer conversations about how images are made, encountered and discussed. Choose an exhibition reading, a studio interview or a practical workshop note, and follow one question beyond a first impression.
Three places to begin
Gesture Ledger
Cassian Vale follows the expressive weight of a painted hand, considering how a gesture stays readable when colour, scale and the surrounding wall complicate its meaning. An exhibition about recognition and the attention that comes after it.
Afterlight Hours
Ivo Selden's nested colour bands turn a simple structure into an extended looking exercise. Follow the edges around a corner and discover how repetition can make a small change of interval feel unexpectedly consequential.
Public Second Thoughts
Nora Fen examines the confidence of public lettering and the revisions that complicate it. Words meet doorways, painted-out edges and passing readers in an exhibition about what a wall contributes to the message it carries.