A Brutal Kind of Bloom brings together four London-based artists: Hunter Amos, Alexander Carey-Morgan, Charlie Gosling, and Emily Wilcock. It is an exhibition characterised by its frankness, honesty, and surprising sincerity - surprising because it is increasingly rare to see works of such a direct transmission.

Australian-born Hunter Amos is an artist whose idiosyncrasies include not only an inspired choice of subject, but a deft manipulation of material. His oil paintings defy perception and appear as though products of natural erosion: figures and other forms emerge from within, greeting the viewer from the ‘other side’. Herein lies the mystery surrounding Amos’ painting: each crevice and crease about its surface is deliberate and yet the resulting impression is anything but. Using his amassed knowledge of natural formations, weathering, and other marks, Amos has begun to understand things via the impositions of their environment. Consistently debating the value of human intervention in the natural world, questioning whether humans are part of or apart from nature, he is developing a nuanced practice concerned at its core with materiality in painting and, more broadly, in the world.

Australian-born Emily Wilcock paints figures of a powerful presence. They are frightening, confrontational, and alluring to those of a curious and eager disposition. Wilcock is fearless - mixing media in the hope that she will conjure the image and presence of a fantastical and yet completely real character. Composed of fast brush strokes, incisions, and other marks, these figures appear bold and brilliant, born in the mind of the artist and translated directly into painting. Some have their complex psychology and emotion articulated by their pose, some by the gesture with which they are painted, and others by their distorted anatomy. Dual-headed, Janus-faced, these characters propose ideas of the internal and external, of the conscious and unconscious, of the psyche and the body.

Charlie Gosling, who first showed with the gallery in May 2023, contributing two works to its first group show ‘Cut Out’, is a London-born painter committed to an exploration of the human visage and its ensuing psychology. His subjects, which range from friends and acquaintances to people met by chance, are chosen carefully and are generally alike - sharing impenetrable gazes and inscrutable countenances, accentuated by the particular way in which Gosling requests they pose. It is complex then that in his paintings he exhibits heightened degrees of sensitivity and subtlety. Paint, for example, is applied carefully, and in drawing he is also patient to record what he sees. This often myopic look at life gives his works an intensity and focus and speaks to a nuanced life spent looking keenly and feeling after, rationalising life’s extraordinary encounters with restraint and concision.

Painter and sculptor Alexander Carey-Morgan benefits demonstrably from his dual life lived part in town and part in the country. His various paintings of poppy or papaver fields (various in scale, colour, and mood) function as explorations of material and technique, namely staining muslin and canvas with watercolour and coffee, as they do as explorations of landscape. Obsessive over the ‘sublime’ as manifest in art, in particular the enigma of Turner’s later paintings, Carey-Morgan looks to the natural landscape for solace and meaning. The charged papaver field, with its allusions to memory, pleasure, danger, dreams, and death, provides a ground for the artist to contemplate transcendence. His sculptures, of forms growing from within and from underneath, spark conversations surrounding life cycles, (re-)growth, and of material things as vessels for emotion and spirit. In both painting and sculpture, Carey-Morgan is careful to meet seemingly natural forms with those more cultivated and contrived. These works subsequently function as at once abstract, landscape, and figurative paintings as rich and as fertile as the landscape they depict.

It goes without saying that many (but not all) of the ways in which these artists work and the materials they use are familiar to us already. There is perhaps nothing provocative here save this: that in a world of quantification and statistics in which we are told the things that matter are the things that can be measured and described, there are new artists who suggest otherwise. Here are four artists that succinctly remind us that the index of our prosperity as people may not, after all, be our gross domestic product.

Hunter Amos

Born 2001, Parsons School of Design, New York City, 2019. Select solo shows include Rough Hold, 2024, Anna Zorina Galery, New York `City and Synonyms, 2020, Axes Project Space, Brisbane. Select group shoes include Early Man 2 and Horripilation, both 2024, The Hole Gallery, New York City, Embodied Spaces PT, 2023, Strada Gallery, New York City, and Beyond This, 2023, Anna Zorina Gallery, Los Angeles. hunteramsostudio

Emily Wilcock

Born 2001, Camberwell College of Arts, 2023. Select solo shows include Delicate Kingdom, 2023, Incubator, London. Select group shows include Mind to Hand, 2025, and Utopia, 2024, both Incubator. emily_wilcock_

Charlie Gosling

Born 2000, Camberwell College of Arts, 2023. Select solo shows include Incubator 21, 2021, Incubator, London. Select group shows include Mind to Hand, 2025, Incubator, Whose Muse?, 2024, Palo Gallery, NYC, and Cut Out - Series 1, FreddieFoulkes Gallery, 2023. charlie_gosling_

Alexander Carey-Morgan

Born 1998. Central St. Martins, 2021. Select solo shows include Horizon, 2025, Leclaireur Herold, Paris, and To The Horizon and Back, 2025, Hinterraum, Lisbon. Select group shows include Hidden Seed and Soil, 2024, Asylum Chapel, London, and Manifestation, 2022 Zero Gallery, London. alexandercareymorgan