A thirteen artist, back-to-back solo exhibition marathon

Curated by Guts Gallery x Soft Punk 

Private Views - Every Thursday

Open Friday - Sunday 10 - 6pm

Monday - 10 - 1pm

 

Unit 313, Frederick Terrace, 

E8 4EW, London, UK 

[Next to Haggerston Station]

Get Here - CityMapper

 

WEEK 1

CONTENDER

A Solo Show by Corbin Shaw

 

Private View - 24th September 6-9pm

Continues Until - 28th September 

Address - Unit 313, Frederick Terrace,

E8 4EW, London, UK

Press Release Translations

Cantonese

Mandarin

French 

German 

Italian


 

ConTender is an ode to my adolescence and the spaces that shaped it. Boxing gyms and football pitches, the pub and streets. These works appropriate the traditional male rites of passage of Northern England, reorienting and rearticulating the pressures of male conformism. Growing up in a post-industrial city like Sheffield, one cannot escape a sense of nostalgia – the city pines for its past in the coal mines and the steel trade, industries now lost in post-Thatcher Britain. The result is an unfulfillable legacy, one which rests heavily on the shoulders of the city’s residents. The younger generation of men — my generation — has had to find new ways of expression, but in the ruins of industrial greatness since-past, we have only our cars, our clothes, and our music; that which threatens self-destruction, if it does not promise it outright. This show aims to explore this experience of trying to “fill the boots that have come before,” and the weight of that task’s impossibility, having already been destined to be history’s runner-up.

 

Corbin’s work explores the performance of masculinity in heteronormative spaces dominated by men. He makes work from his own personal experiences growing up in spaces such as football grounds, boxing gyms, and his dad’s metal fabrication workplace. He looks at the rites of passage of manhood in England, the obstacles which men pose upon each other in our society, and male conformism. He looks at how public notions of masculinity shape our outlooks, and how the traditional standards of masculinity that are hereditary in our culture can have effects on our mental health.

 

Corbin is interested in the enforcement of gender roles by the father figure. His practice tries to understand the invisible authority of our peers that tells us we should be conforming to strict rules on what our gender should or should not be. He wants to understand how gender norms become established, how they are policed, and how best to disrupt and overcome them. By documenting the spaces he grew up in, Corbin aims to understand his own idea of masculinity, and what masculinity means to people in similar environments. He documents these spaces by using photography and film, before translating ideas into sculpture and painting.

 

WEEK 2

PLASTIC DOESN'T SWEAT 

A  Solo Show by Elsa Rouy

Private View - 1st October 6-9pm

Continues Until - 5th October

Address - Unit 313, Frederick Terrace,

E8 4EW, London, UK

Press Release Translations

Cantonese

Mandarin

Russian

Spanish 

Italian

 

Featuring four paintings alongside hanging latex suits, this exhibition uses humour to focus on two sides of intimacy, emotional and physical, and how they correspond to experiences of dependency, shielding, and liberation. The characters that are presented within the paintings each display their own emotion. The two paintings, “Spout Out and Splash About” and “Tugging Each Other’s Ego Straps” feature figures who look out from the canvas, creating eye contact and smiling grotesquely, thus incorporating the viewer within the scene. “Falsifying Catharsis” and “Bring a Bucket and a Mop” contrast this notion of incorporation by completely excluding the viewer from the scene, creating an intimacy between the characters on the canvas. The viewer becomes a voyeur rather than a participant. 

 

The name of the exhibition “Plastic Doesn’t Sweat” refers to strap-on suits that resemble human sexual organs and the confusing dynamic between realness and falsity, as well as that between mind and body. The body fluids seen throughout, especially the ones seen on the latex sculptures that hang from the ceiling, are used to contrast illness and infection with vitality and their connection to our shared experience of being human.

 

Elsa Rouy is an artist from Sittingbourne, Kent who now lives and works in London; she is currently completing her BA Hons in Painting at Camberwell College of the Arts. Rouy creates artwork that founded in a female gaze on sex, its anxiety, and its pleasure: she focuses on moments at the intersection of intimacy and sexuality, interested in the dialogue between subject and surrounding. She plays with depictions of female and male genitalia, making paintings of figures with their sexual organs revealed and using genitalia as a way to navigate anxieties that come with having, and being conscious of, a body. 

 

The paintings also explore themes of emotional pretense and trepidation between people, highlighted through sexual intercourse. Her work focuses on bodily fluids such as semen, milk, urine, sweat, and saliva, using this imagery to highlight our paradoxical relationship to sex and its products – we find it at once repulsive and alluring. In addition to this, these fluids probe the link between pleasure, death, and reproduction. 

 

Elsa’s main aim is to include the viewer as a voyeuristic counterpart within an erotic scene that feels personal rather than pornographic. Ensnaring the viewer with an initial feeling of comfort, intrigue, and excitement, then permeating this security with a subconscious reaction of repulsion and uneasiness.

WEEK 3

WORKING, AS ONE INTENDED 

A Solo Show by Ruby Dickson

Private View - 8th October 6-9pm

Continues Until - 12th October

Address - Unit 313, Frederick Terrace,

E8 4EW, London, UK

Press Release Translations 

French 

German 

Spanish 

Cantonese

Mandarin

The work on display in this solo exhibition expands on a practice founded in a rejection of “common sense”. While they resist the abstract, they attempt to create worlds not governed by place or time, instead exploring mental association towards common symbols removed from social context. Guns, mugs, dentures – objects often laden with meaning are built anew, once more made susceptible to the unpredictable influences of everyday life. Frustrated by the regular recourse to thoughtless irony pervasive in the art world, the characters and objects found in the paintings are presented sincerely; social commentary proves difficult as the pictured objects populate a world of their own.

Ruby Dickson is a painter raised in Yorkshire who lives and works in London. Rejecting notions of visual coherence, Ruby seeks to parallel the discord of everyday life in each new painting she makes. In doing so, she draws upon a wide array of influences, ranging from postmodern literature to personal insecurity, in addition references from her education in Art History. Her paintings have nothing to do with identity.

WEEK 4

RUN THE BOX

A Solo Show by Andrew Hart

 

Private View - 15th October 6-9pm

Continues Until - 19th October

Address - Unit 313, Frederick Terrace,

E8 4EW, London, UK

Press Release Translations 

Cantonese

French 

German

Spanish

Mandarin
 

Hart composes this installation with his non-rules of improvisation; he approached this work with an openness to allow moments to "spontaneously generate" within the fluidity of allowance. The title comes from a found object – found 6/8/2020 – sitting with this object, and thinking it could be the name of a club, or new-styled dance, or maybe both.

 

Hart’s selection of song for this mini-installation plays with his ideas of language — "how can a song on repeat be a revolution; how can a song be a circle?" Hart plays with these ideas and themes in his ongoing rhythmic practice to create an unspoken language of connections, junctures, and sound clashes.

 

Hart invites you to move for a moment, to let go, to dance away the lament of the repeat: out of that repeat, out of that revolution, we create our own rhythm — our own song and life to dance to…

 

Andrew Pierre Hart is a London-based artist whose practice is an interdisciplinary exploration of the symbiotic relationship between sound and painting. Andrew’s practice consists of researching rhythm and the play of improvised and spontaneous generative processes, through various mediums including sound, video, performance, found object and image, language, photography, and installation. Andrew’s current work explores themes of spatiality, visualisation, synchronisation, and re-interpretations of DJ technology through painting, sound, and installation. Andrew was recently selected for the ArtAngel “Thinking Time” award, and as a 2019 Tiffany & Co. x Outset Outset Studiomakers Prize winner. He recently showed in a 2 person show at Tiwani Contemporary, and has performed at Collective Intimacy at 180 The Strand in 2019, at Yamamoto Keiko Rochaix Gallery in Whitechapel as part of Nocturnal Creatures, and at Up is a Relative Concept at Fold, London. He is also a regular in the Guts Gallery exhibition series.

 

Image Credit: Katherine Finerty (2020)

WEEK 5

IT CLINGS LIKE A LEECH  

A  Solo Show by Olivia Sterling 

Private View - 22nd October 6-9pm

Continues Until - 26th October

Address - Unit 313, Frederick Terrace,

E8 4EW, London, UK

 

“Persistently or clingingly present.” This idiom refers to the way a leech attaches itself to the person or animal it draws blood from; once they begin feeding, the parasites are very difficult to remove, sucked to the skin. 

 

This series examines the process of unlearning stereotypes, traits, and characteristics that are thrust onto us as children, but which begin to collapse as we enter adulthood. However, as the title suggests, this is not so simple a task — we often find these norms and values “stuck”.

 

In pursuit of this idea, the paintings contain figures physically removing things, or wrestling with currents, liquids, and objects. In doing so, the figures interact with others facing much the same challenges — the negative thoughts and attributes these gestures signify are made increasingly difficult to overcome when reinforced by one’s context. In this imagery, I examine the practice of dismantling and unlearning biases and phobias pertaining to one’s own identity, particularly when these ills are sewn into the social fabric of our naturalized communities. 

 

As a black, plus-sized woman, my “leeches” are centred in racism and fatphobia, but I hope to make paintings that apply to a range negative feelings the viewer feels burdened by — or better put, has grown up with, forced into their minds, which they find now sucking, clingingly, from themselves

 

Olivia Sterling parallels modes of othering through painting cropped domestic scenes. These scenes focus on blackness, whiteness, and racism’s small indignities and violence through a “slapstick” sensibility. Paintings are often populated with letters and lines, regularly indicating the nearest colour to draw attention to the inanity of the language of race. One might see a “white” hand accompanied by ‘p’, for pink or peach, in contrast to the supposedly superior, pure white, which takes the form of a sticky, liquid ooze.

 

Her paintings are often set in bathrooms, kitchens, and playgrounds, private or public areas — any place where racism’s macro- and microaggressions might occur. These locations also suggest a variety of transformations, from raw to cooked, dirty to clean, cool to burnt. Sterling believes this aligns with moments of othering and certain observed social phenomena like blackfishing or new modes of exoticization. 

 

In reaction to growing up in a countryside town in England, Olivia Sterling’s paintings often reference British identity by containing specific icons of the British experience, ranging from Victoria sponge cakes, milk bottles, double cream, and Pink Panther biscuits to Girl Guides imagery and plug sockets. Through the use of these objects she wishes to bind her experience as a black woman to its inalienable Britishness, and to tether the paintings to a specific time and place. 

 

Olivia Sterling is a painting and installation artist from Peterborough, living currently in London where she received her MA in Painting at the Royal College of Art. Recent exhibitions include Without a Painter, Fitzrovia Gallery (2020) Tomorrow: London, White Cube (2020), London Grads Now, Saatchi Gallery (2020).

WEEK 6

QUEER ME: THE CONFESSIONAL 

A Solo Show by Lucia Ferrari 

Private View - 29th October 6-9pm

Continues Until - 2nd November 

Address - Unit 313, Frederick Terrace,

E8 4EW, London, UK

Lucia Ferrari’s body of work explores her sexuality and identity. These works can be seen as an homage to Ferrari’s young self, embodying personal reflection by using the Pentimento painting method, through which she leaves remnants of previous marks on the canvas. The paintings are created from memory, exploring the notion of recollection and how she remembers the past, along with jaded memory’s place in her consciousness today. This is the most honest body of work Ferrari has produced to date, which is demonstrated by the exhibition’s bold title (and its religious connotations): this body of work is unabashedly for her, while its themes remain thought-provoking to the general viewer. Amen.

 

Lucia Ferrari is an Italian working-class artist raised in North London. Ferrari recreates theatrical scenes from past memories, distorted through imagination and nostalgia. Ferrari's narrative continuously touches on her female queer identity and religious background. Which can be found in the composition and subject matter within her works.

WEEK 7

PEEKA-FUCKIN-BOO

A Solo Show by Sophie Vallance

 

Private View - 5th November 6-9pm

Continues Until - 9th November

Address - Unit 313, Frederick Terrace,

E8 4EW, London, UK


 

“Peeka-fuckin-boo” is the title of a recent painting of mine. The painting’s a huge (oversized) lion’s face, with creepy used-car-salesman teeth and tiny, beady eyes; it stares at you with a something — something — right in your face. You’re not sure where he’s come from or why, but he’s here and you can’t ignore him. 

 

The last six months have felt very much like a confrontation with the Peeka-fuckin-boo lion. In addition to the collective experience of a pandemic, and the uncertainty of not knowing how tomorrow will look (let alone next year), the situation has forced me —  as an artist and as a human — to confront myself, my practice, and my flaws in a new way. The lion is not a negative thing, only uncomfortable; necessary. 

 

In this examination, a second meaning came to light. I always say that there’s a magic to making paintings, and that sometimes they completely sneak up on you. I love that idea, the paintings surprising, scaring, creeping up on their maker. I’ve also looked back on old works and wondered how the hell I managed to make them; the very essence of surprise lies in a moment, and sometimes when the moment is past, the surprise loses meaning. So here I am with these paintings that have very much said “Peeka-fuckin-boo”, surprising me in ways I never expected.

 

Sophie Vallance’s practice as a painter is best described as an intense examination of life; a conversation with herself. Encounters from her everyday are re-imagined on her large square canvases, half reality, half fantasy. Her imagery draws heavily on animals, self portraiture, food, and her subjective reality. In turn, these are inflected by tonalities ranging from the humorous to the darkly sad. She is currently based in Glasgow but has lived in both Berlin and London, allowing her practice to naturally evolve through time and locale, tied not to particular geographical place, but instead to the experiential and how it takes on shape and distinction in hindsight. Her own voice sits at the nexus of feminist practices, cathartic art-making, processes of confession, folklore, and storytelling.

WEEK 8

HORSES AND NUDIES

A  Solo Show by Douglas Cantor 

Private View - 12th November 6-9pm

Continues Until - 16th November

Address - Unit 313, Frederick Terrace,

E8 4EW, London, UK

 

My practice has always been personal and somehow egotistical. It’s mine and it exists for me to learn about myself and understand myself. It is in its nature very serious, deep and complex, and explores very personal aspects of my persona and very private experiences of mine that more often than not I choose to not share openly. Most elements have a reason to be, a story, an anecdote behind them. They come from life, nostalgia or desire, frustration. Someone that knows me well can probably join the dots, but to the outside it might not be so easy to see past the surface. As time piles up on my shoulders and I get more comfortable and accepting of my own self, two glorious things have happened that have made me both a better person and a better artist:

1 I give less and less of a fuck every passing day

2 I take myself less seriously

So, how do you explain to people as you go about your day what it is that you do? I paint, I say. Then they ask you, What do you paint? What is your work about?

“Right now,” I answer, “Horses and Nudies”.

Douglas Cantor (b. 1989, Puerto Boyaca, Colombia) studied at Camberwell College of Arts in London, and now lives and works in Glasgow, UK. Cantor’s paintings are a biographical exploration of the self. His work is a collection of existential thoughts, phrases, memories, and experiences that create a vocabulary personal and specific to his own history — his Latin American heritage, his time spent away and his experience as an immigrant. Working from memory, Cantor’s compositions are romantic, idealised, and often permeated with a heavy sense of nostalgia. The result is paintings that are of all things relevant to him: places, patterns, animals, people, still life, text, plants, and food, where each element works as a vessel for the artist’s thoughts, emotions, and unfolding identity. 

Thinking for long periods of time before painting is a practice intrinsic to Cantor’s way of working. Images are constructed from their multiple elements and form in his mind before brush ever touches canvas. Despite this, once he begins painting there is no commitment to staying true to these visions. For Cantor, the process of painting is not driven by stylistic or aesthetic choices, but instead a preoccupation with expressing awareness and honesty, intuition, and a desire to move the conversation forward. His paintings are a pictorial tribute to the traces of decisions already made, and an ode to the desire of creating something beautiful.

WEEK 9

ARRIVAL ON THE BEACH  

A Solo Show by Kemi Onabule

Private View - 19th November 6-9pm

Continues Until - 23rd November 

Address - Unit 313, Frederick Terrace,

E8 4EW, London, UK

“Arrival on the Beach” is a series of paintings, drawings, and prints that details the experiences of colonised people from their first contact with the newly-arrived imperialists. The history of colonialism is often explored through the lens of the colonizer, with the pictorial records of these experiences often representing an exclusively the western perspective that takes indiginous peoples as its subject. In my paintings I seek to reverse this perspective, following instead the gaze of indigenous peoples, inhabiting their experiences as they look out onto the horizon as the arrivals come ashore. 

 

Additionally, materials formerly used to communicate imperial power have been reappropriated here in order to demonstrate the dignity of subjugated peoples. During periods of European colonialism, oil painting was often used as a tool to convey dominance over an empire’s subjects, creating a visual language to denote status and power within the images. Subverting this, retrospectively, confers the power of colonizer onto the pictured colonized subject.

 

Kemi Onabule's paintings are a response to a world that seems to be in chaos; unravelling economic structures, overwhelming ecological destruction, and the overturning of societal norms have necessitated a societal reassessment of conceptions of belonging and identity. In turn, Onabule’s paintings aim to engage with this narrative in the form of a challenge, showing a utopic, yet layered view of humanity. Heavily featuring female figures and lush, unrestrained vegetation in her work, she hopes to reimagine a world that is unburdened by the demands of modernity and the alienation of labor under contemporary capitalist frameworks. 

WEEK 12

CHAMPAGNE TASTES

ON BEER MONEY

A Solo Show by Victoria Cantons

Private View - 10th December 6-9pm

Continues Until - 14th December

Address - Unit 313, Frederick Terrace,

E8 4EW, London, UK

I waited at the junction, leaning against the traffic light.

The sky was a perfect light blue, not a cloud in sight

Not even the trails of planes off to their destinations.

People walked up and down the pavement,

Anonymous 

Faces covered by masks

Hands wrapped in latex

Everyone in their own thought bubbles. 

Where is my tribe?

Where are my people?

Lost in digital gloom 

I’m travelling through a zombie wasteland.

I can dream and I will dream

I want to be part of the world's future.

So don't call me by your label

Because I'm not.

Don't tell me to look in the mirror

And see the face you want me to see, and tell me to recognise

An unfamiliar place - I have a map

And I have a home.

I will be defiant

I will have my land

My name is on the paper

And that is my truth.

I will be better, stronger, greater

Than anything or anyone you can imagine.

I will be the beauty of the butterfly. 

But then I prayed for an angel 

And no angel came, 

There are rules and regulations 

And people don’t read and don’t listen.

It’s all about money and nothing breaks like a heart.

 

Victoria Cantons is an artist who happens to be a woman, transgender, and gay. As a trans woman she is keenly aware of limitations and stigmas, which leads her to question how much freedom we have and where our boundaries lie. Cantons wants to understand as much as she can about what it means to be human. She believes that what we as individuals present to the world is multifaceted and not always visible; a continuous evolution in response to experience, and in relationship to each other. The human condition and questions of identity are central to her work. Cantons is interested in themes of power, identity, and male and female perceptions of each other. She says “These aspects connect us all and yet we are also unique individuals”.

 

Cantons’ painting is figurative and she could be described as a colourist. She is interested in the dialogue between painting’s contemporary iterations and its histories. Cantons uses drawing and written notes combined with found and made photographs to navigate between intuitive, intellectual, and aesthetic content informed by a multinational, -cultural and -religious background.  An interest in the internal-external dichotomy manifests in an attention to scale, to how shadows form, and to where absences appear. Memories of being different suggest the need to use masks and camouflage as protection, while influencing the paintings as they evolve in an exploration of identity, self, and representation.

WEEK 13

ABODE

A Solo Show by Miranda Forrester

Private View - 17th December 6-9pm

Continues Until - 21st December 6-9pm

Address - Unit 313, Frederick Terrace,

E8 4EW, London, UK

“Abode” is a new series exploring the relationships of queer black womxn and non-binary people, both with one another and with themselves. The abode is where you are rooted; your space to dwell; where desire and tenderness exist without reservation. This series observes this essential interior, and the subtleties of the emotions, actions and happenings that occur there.  

 

A number of these works were created during lockdown, where time and space to dwell was unlimited. This series explores this specific time period as well as other spaces that similarly allow for slowness and stillness; where silent desire that is simultaneously intensified by a long period of time without interruption can occur. The figures are granted the space to breathe, the right to spontaneity, independence and autonomy. The liveliness and soft energy of the bodies are on display: flexible, moveable, transitional. Queer companionship, joy, and solidarity are at the heart of these paintings, exploring the sensitivities of womxnhood. The paintings that use image transfer make reference to films that similarly explore enduring anticipation and a migration to freedom and agency, such as The Portrait of a Lady on Fire (Céline Sciamma, 2019) and The Watermelon Woman (Cheryl Dunye, 1996). The use of PVC also speaks to the dynamism of the body, seeing through, on, and around the surface, evoking a sense of community and the many voices that contribute to the formation of one’s identity.  

 

Miranda Forrester’s practice explores the queer black female gaze in painting, relating to the history of men painting womxn naked. Her work is concerned with addressing the invisibility of womxn of colour in the history of art and combating the fetishization of our bodies. She has been investigating how her identity impacts the way in which she depicts her subjects, and how her paintings can rearticulate the language and history of life drawing through a queer black feminist desiring lens, and in doing so, depict what the male gaze cannot see. Her use of stretching plastic over stretchers and painting on highly primed smooth surfaces is fundamental to the work, as it allows the viewer to see through the pictured bodies; the surface becomes more than skin, allowing the figures to become real and alive, moving and breathing on the canvas. This layering of transparent materials alludes to the complexities and nuances of womanhood and femininity; gender and sexuality.  


Exploring the significance of domestic environments for queer people, Forrester’s paintings capture intimate, insular moments of warmth and tenderness. Animating large expanses of emptiness with vibrant, fluid and assertive lines, her bold figures occupy their space with authority yet subtlety, speaking to the strength in vulnerability. Lines and translucent brush strokes roam across her paintings, often spilling onto the wall behind and around the stretcher, gathering complex and shifting observations into the nature of identity. The work, altogether, is a celebration of womxn’s bodies, the joy in occupying feminine identities and being in relation with one another.

 
 
 
 
 
 
 
 
 
 
 
 
 

WEEK 10

ECLIPSE OF A DODGY LAMP  

A Solo Show by Kate Burling

Private View - 26th November 6-9pm

Continues Until - 30th November 

Address - Unit 313, Frederick Terrace,

E8 4EW, London, UK

With no studio space available over lockdown, I created these pieces in the living room of my flat. The paintings were balanced around the room to be developed simultaneously. Over time they became significant parts of the interior, lived around and continuously reworked. 

They depict obscured figures encased by their own rooms and possessions. I often painted at night under a yellow ceiling light, and the resulting shadows had a significant influence on the development of these scenes. 

The works act as mirrors, exploring the human condition in times of enforced stillness. Limited outside interaction deepens self-interrogation at the expense of being present and disciplined in reality. Kitchen items, instruments, houseplants and books are layered into shadowy areas of these paintings and act as symbols of personal upkeep and ritual. They melt and slump into menacing, ghost-like silhouettes which haunt and warp my human subjects. 

The works blend mysterious and familiar imagery, intertwining harsh shadows from chiaroscuro painting with subtle geometry from commercial graphics and soft furnishings associated with home craft. 

 

Kate Burling is a painter from South London whose work depicts human-like figures in spaces. Her paintings gradually build on layers of warped imagery, developing relationships with each other over the length of their evolution. Using rich colours and textured brush strokes, she blends references to domestic comforts with menacing silhouettes. 

 

Other recurring references are old family photographs, horn-like instruments, kitchen objects and life sketches of slumped figures. These accumulate in imagined scenes, largely concealed in shadow, with objects and figures fading in and out of familiarity.

WEEK 11

ODE TO OATHS  

A Solo Show by Salomé Wu

Private View - 3rd December 6-9pm

Continues Until - 7th December 

Address - Unit 313, Frederick Terrace,

E8 4EW, London, UK

I hope that when people experience my work, they are able to relate to the stories they contain, merging their own subjectivities with the presented narratives. Within this practice, I am particularly drawn to instances of lamentation – I find much of my art bears a common expression of grief and sorrow. However, I would be remiss to erase all joy from my work. Perhaps, instead, these are the poles between which my work oscillates, trying to evoke the power of both harrowing loss and intense joy; I find that the interplay of these feelings prove an opportunity to reflect on what's important, and what to cherish.

 

Salomé Wu (b. 1996, China) is a multi-disciplinary artist whose practice involves oil painting, printing on silk, installations, and performance. As a teenager, Salomé admired a teacher who encouraged her to pursue training in calligraphy and painting. Her work examines otherworldliness through translations and ever-evolving reinterpretations of a mythology, formed from her observation of time, fragility, and the interplay between reality and the unseen. Understanding herself primarily as a global citizen, Salomé works to keep her art devoid of contemporary models of identification and taxonomy, relying on obliquely biomorphic figures to populate her work. Across mediums, she presents a nonlinear journey, weaving together seemingly disparate moments to unveil previously concealed narratives. Salomé lives and works in London, UK.

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