Frederic Anderson: Newport 1958
30th May – 4th July 2026

Newport 1958 by Frederic Anderson brings together a new series of subtle and delicate gestural abstract paintings, presented alongside print works by Spanish artist Antoni Tàpies. Anderson's paintings enter into a dialogue with Tàpies through gesture, rhythm and mark-making. In the basement, a film: Jazz on a Summer's Day, a concert film set at the Newport Jazz Festival in 1958. Directed and edited by Bert Stern and Aram Avakian, the film features performances by Jimmy Giuffre, Thelonious Monk, Sonny Stitt, Anita O'Day, Dinah Washington, Louis Armstrong, Mahalia Jackson and many more, this being the period of jazz music that Anderson connects with so deeply.

Anderson has developed a distinctive abstract language rooted in drawing. For him, drawing is a raw, intuitive process of rhythm, structure and balance. Like music, his drawings emerge as visceral reactions, often completed within just a few seconds or minutes. Only a few are later selected and developed into paintings through a long, considered process. As the drawings transition into paintings, the pace slows dramatically, the unique tension and energy of the original drawings preserved by carefully controlling every individual element in the composition. A single variation in line thickness or density can irreversibly shift the entire work, requiring intense focus, unlike the spontaneous nature of the drawing process.

Music is central to Anderson's practice. His drawings are formed while listening to jazz, and for this body of work, music by Freddie Hubbard, Dizzy Reece and Pete La Roca. Though not tied to any single piece or moment of music, the artworks hold the tonal shifts of the music that informs them. Line, density, spacing and colour operate like musical notes, phrases, pauses and tempo, creating visual compositions that feel improvised, yet are highly controlled.

Anderson's visual language bears an affinity to the artworks of Cy Twombly and the asemic poetry, writing, drawing and painting of Henri Michaux. Asemic being a form of mark-making that resembles written script while remaining beyond literal readability. Like music, it communicates through rhythm, gesture and mood rather than fixed meaning.

This dialogue is sharpened by the presence of Antoni Tàpies, whose work similarly tests the expressive capacity of line, material and gesture. Seen together, both artists reveal different approaches to abstraction, resisting direct translation, yet remaining deeply affective. The history of abstract art is steeped in examples of what at first glance seems like spontaneous mark-making, but is far more considered, as in the works of Miró, Kandinsky, Pollock, Baselitz, Basquiat and many other great 20th century painters.

Frederic Anderson (b. 1973, Luxembourg) is based in London and draws deep inspiration from the sonic textures of 1950s–60s New York jazz. Anderson earned his BFA from the American College in London and his MFA from the University of the Arts, London. He is represented by Van de Weghe, New York, a gallery known for secondary-market masters such as Warhol and Basquiat, where Anderson stands uniquely as their sole primary artist, signalling a rare crossover between the contemporary and historic.

Recent gallery and art fair presentations include: Van de Weghe, New York; The Page Gallery, Seoul; Parra & Romero, Madrid. Art Genève; TEFAF Maastricht and New York; Brussels Art Fair (duo with Robert Mangold); Art Basel; Dallas Art Fair (solo); Art Monte Carlo; The Armory Show (solo); Art Basel Paris; Art Basel Miami Beach; ARCO Madrid.

Private View: Thursday 28th May, 6–8pm
Public Opening: Saturday 30th May, 12–6pm

Contact – jacob@interval-clerkenwell.art for all enquiries.

Simon Moretti: Scenes from a Divided Subject
11th April – 16th May 2026

Simon Moretti: Scenes from a Divided Subject, featuring Paul Éluard, Pablo Picasso and Joel Wyllie.

"The I is always in the field of the other" – Jacques Lacan, Seminar XI, The Four Fundamental Concepts of Psychoanalysis (1964)

Scenes from a Divided Subject is an exhibition by Simon Moretti that engages with the writings and theories of French psychoanalyst Jacques Lacan, drawing in particular on his concept of the three orders: the Imaginary, the Symbolic, and the Real.

At the centre of the installation stands a large plinth on which three distinct objects are arranged in constellation, bringing image, power, and material presence into contact with one another. Rather than following the conventions of a traditional museum display, this grouping presents them as a single sculptural work whose significance shifts through proximity and contrast.

The first object is a late Gothic carved wood sculpture depicting the Coronation of the Virgin c. 1500. Beside it rests a queen helmet shell (Cassis madagascariensis), its form at once organic and architectural. The third object is a North German close helmet for field use, Brunswick c. 1560-70.

These objects are presented alongside Moretti's signature neons, together with Grand Air (Les Yeux Fertiles) 1936, a collaborative Surrealist etching by Pablo Picasso and Paul Éluard, and a drawing from Joel Wyllie's Shedding Pictures series.

Simon Moretti is an artist based in London. His work deals with psychoanalytical and philosophical concepts through context and display, the use of appropriated images, archives, curatorial and publishing projects. Recent exhibitions include Hereafter, The Swedenborg Society, London (2025); The Enigma of the Hour, with Goshka Macuga, Freud Museum, London (2019); and The Camera Exposed, Victoria & Albert Museum, London (2016).

Special thanks to Mullany Haute Epoque Fine Art and Sims Reed London.

Contact – jacob@interval-clerkenwell.art for all enquiries.

Petra Cortright: "gracePOINT" - Independent Art Fair 2026
14th – 17th May 2026

Interval's presentation at Independent Art Fair, New York.

"gracePOINT" by LA-based artist Petra Cortright, features new digital paintings on aluminium alongside a video. These new artworks are created in response to old master artworks from the 17th and 18th Century, as well as various medieval Book of Hours manuscript leaves, as well as Cortright's passion for roses and the flora and fauna of her native California.

Petra Cortright's rich and beautifully formed artworks were created in response to the consigned works for the inaugural show from Interval's old master gallery collaborators Rafael Valls and Sam Fogg, featuring 17th and 18th century Dutch and Spanish floral still life paintings by Jan Van Os, José de Arrelano, alongside several 15th century Book of Hours manuscript leaves. The relationship between Petra Cortright's and the old master works shows an amazing connection and parity between art made in different times and that the language of art making is both continuous and also ever-evolving with the development of new techniques and digital mediums.

Petra Cortright (b.1986, Santa Barbara, California) is a Los Angeles based artist whose practice spans digital painting, video and online culture. Over the last 15 years Petra has been working in the format of digital painting. A unique process comprised of working with reference imagery that is then scanned and expanded pixel by pixel, mixed with brush strokes and other source imagery to create paintings with hundreds of layers. Cortright then works closely with a master printer in Brooklyn to layer these onto her various materials (aluminium, canvas, wood, etc). Petra is one of the most highly recognised digital and video artists of her generation.

Her work has been exhibited internationally at many leading institutions including: Palm Springs Art Museum, Doota Plaza Seoul, LIMA, UTA Artist Space, University of Edinburgh, Depart Foundation LA, MoMA, Hammer Museum, Ludwig Museum Budapest, Walker Art Center, Halle für Kunst & Medien Graz, Museum of Contemporary Art Chicago, Kunsthaus Langenthal, New Museum, 12th Biennale de Lyon, SJ01 Biennial San Jose, Whitechapel Gallery London, Zeughaus Teufen Switzerland, Frieze London, Art Basel's Unlimited and Parcours, and the Venice Biennale.

Public collections include: The Bass Museum of Art, Berkeley Art Museum and Pacific Film Archive, Crystal Bridges Museum of American Art, Denver Art Museum, Getty Research Institute, Hammer Museum, Kadist Foundation, The Knoxville Museum of Art, LACMA, Moderna Museet Stockholm, MoMA, Museum of Contemporary Art Chicago, MOCA LA, Stedelijk Museum, Pérez Art Museum, Rhizome Net Art Anthology, San Jose Museum of Art, and Santa Barbara Museum of Art.

Notable solo gallery exhibitions include: Team Gallery (New York), Société (Berlin), Carl Kostyál (London and Stockholm), Ever Gold [Projects] (San Francisco), Foxy Production (New York), Interval (London), 1301PE (LA), Brigade Gallery (Copenhagen), Duarte Sequeira (Braga, Portugal), von ammon co. (Washington D.C.), Danziger Gallery (New York), and online with Verse, Vortic and Daata, The Bass Museum (Miami) and Jodhpur Art Week (India).

Petra Cortright was the launch artist for the inaugural exhibition "NOBLEcurve" at Interval in 2025.

Contact – jacob@interval-clerkenwell.art for all enquiries.

Lustre: Sebastián Espejo & Pierre Bonnard
24th January – 28th March 2026

Lustre, an exhibition by London-based painter Sebastián Espejo (b.1990, Chile), presented alongside works by Pierre Bonnard. As well as Japanese woodblock prints by Hokusai and Hiroshige, artists that both Espejo and Bonnard frequently reference.

Sebastián Espejo (b. 1990) is a Chilean artist based in London, whose practice centres on painting with a focus on exploring the language of the natural world, still lives and the perception of light. Espejo often directly references the historic work of his influences. He has exhibited internationally across the UK, Europe, Asia, and the Americas. In 2025, he had a residency at Drumlanrig Castle and has been selected for Fugger Kunsthof residency in Augsburg.

In Espejo's quiet and poetic work, one immediately recalls the techniques, aesthetics and mark making of his historic artist influences, aligning with the ethos of Interval.

An essay on Lustre: Sebastián Espejo and Pierre Bonnard by Luis Pérez-Oramas, a Venezuelan art historian and poet who served as Curator of Latin American Art at New York's Museum of Modern Art (MoMA) from 2006 to 2017, will be accompanying the exhibition.

Pierre Bonnard (1867-1947) Born into a bourgeois family in Fontenay-aux-Roses, near Paris. In late 1888 Bonnard, Sérusier, Maurice Denis, Édouard Vuillard and others formed the Nabis, an artistic brotherhood based on Gauguin's theories. Art critics of the period dubbed Bonnard and Vuillard "Intimists," because many of their pictures depicted intimate scenes in interior settings.

Wildenstein & Co. is a private art dealership established in 1875, with an emphasis on Old Masters and Impressionists.

Special thanks to the Kentoni Collection for the loan of the Katsushika Hokusai and Utagawa Hiroshige Japanese woodblock prints.

Contact – jacob@interval-clerkenwell.art for all enquiries.

"NOBLEcurve" featuring Petra Cortright
27 September – 20 December 2025

Interval's inaugural exhibition: new digital paintings by LA-based artist Petra Cortright, presented alongside Old Master works in collaboration with Sam Fogg and Rafael Valls Gallery.

For the gallery's opening presentation, Cortright produced a new body of work made specifically for the show. Taking source imagery from the historic works on view, she layered and printed each painting on anodized aluminium, responding directly to the objects they hang alongside.

Contact – jacob@interval-clerkenwell.art for all enquiries.