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Solo Exhibitions
2026
Stack 5, Dora House, Royal Society of Sculptors, London UK (Public Art Commission)
2025
Projected Outcomes, KARST, Plymouth, UK
2023
From This Day On, Tremenheere Sculpture Gardens, Penzance, UK (Public Art Commission)
2019
Between The Dog and The Wolf, Copperfield, London, UK
2017
Constellation, Barnhill, Chipping Sodbury, UK (Public Art Commission)
2015
Selected Works, Sidney Cooper Gallery, UK
2013
Multiplicity, All Visual Arts, London, UK
2011
Copse, All Visual Arts, London, UK
2009
Mimetes Anon, The Contemporary Art Society for the Economist Plaza, London, UK (Public Art Commission)
Not Waving but Drowning, The David Roberts Art Foundation, London, UK
2006
Sticks and Stones, Mark Moore Gallery, Santa Monica, United States
2005
Terror Firma, Max Wigram Gallery, London, UK

Selected Group Exhibitions
2026
Afternature, Proposition, London, UK
2025
Films of Return – film and video art festival within the A La Luz initiative Points of Return
Afternature, CLOSE, Somerset, UK
Afterimage, Tremenheere Gallery, Penzance, UK
2024
Platform Earth, TM Gallery, London, UK
Catch Me If You Can, ERES Foundation, Munich, Germany
Kaleidoscope, Projects Twenty-two, St Minver, UK
2023
We Are Floating in Space, Newlyn Art Gallery & The Exchange, Penzance, UK
The Subversive Landscape, Tremenheere Gallery, Penzance, UK
Edgeland, Yellow Table Gallery, St Tudy, UK
The Animal Body Remade, Lakeside Arts, Nottingham, UK
2022
Kunstenfestival Watou, Watou, Belgium
Material World, Pangolin, Stroud, UK
Works from the Olbricht Collection, Museum Folkwang, Essen, Germany
2021
Inaspettatamente, Cloud Seven, Brussels, Belgium
Not Painting, Copperfield Gallery, London, UK
2019
Unbounded: Contemporary Art Practices in Cornwall, Eden Project, UK
Without a label, I feel free, Herzog Anton Ulrich Museum, Germany
2018
Formen der Nature, Museum Villa Rot, Germany
Doing Identity, Kunstmuseum Bochum, Germany
Internal Nebular, Haarlem Artspace, Wirksworth, UK
2017
Pure Nature Art – Natural Materials in Contemporary Art, Museum Kunst der Westküste, Germany
The collection at Ambras Castle, Innsbruck, Austria
ARK, Chester Cathedral, UK
Proof of Life, Weserburg Museum of Modern Art, Germany
Force of Nature, The Art Pavilion, London, UK
2016
I Prefer Life, Weserburg Museum of Modern Art, Germany
Force of Nature, Galerie Valérie Bach, Brussels, Belgium
Forever, Bubox, Kortrijk, Belgium
Works on Paper and Wood, Galerie Ernst Hilger, Vienna, Austria
Empty Rooms – The Beauty of Emptiness, Museum Kunst der Westküste, Germany
2015
Manchester Contemporary, Copperfield Gallery, Manchester, UK
Shared, Somerset House, London, UK
Here today…, The Old Sorting Office, London, UK
2014
Alchemy, Nest, The Hague, Netherlands
Additions of the present, Kunstmuseum Bochum, Germany
Building Site, Hardwick Hall, Derbyshire, UK
Home – The Crisis Commission, The Strand Gallery, London, UK
Obsessive Compulsive Order, Copperfield Gallery, London, UK
Art and Alchemy, Museum Kunstpalast, Düsseldorf, Germany
2013
White Light / White Heat, The Wallace Collection, London, UK
The Art of Chess, Next Level Gallery, Paris, France
Habitat, Barnwell Park, Northamptonshire, UK
Glasstress, Palazzo Cavalli, Venice, Italy
Paper Vernacular: Drawings and Constructions, Cutlog, New York, United States
2012
Wonderful, Me Collectors Room, Berlin, Germany
Metamorphoses – The Transformation of Being, 33 Portland Place, London, UK
The Art of Chess, Saatchi Gallery, London, UK
Everywhere and Nowhere, Villa Jauss, Oberstdorf, Germany
Through the Looking Glass, Me Collectors Room, Berlin, Germany
2011
Memories of the Future, La Maison Rouge, Paris, France
Restless Nature, Newlyn Art Gallery, Newlyn, UK
House of Beasts, Attingham Park, Shropshire, UK
Polemically Small, Torrance Art Museum, Los Angeles, United States
Identity Theft, Mimmo Scognamiglio Arte Contemporanea, Milan, Italy
2010
Vanitas: The Transience of Earthly Pleasures, All Visual Arts, 33 Portland Place, London, UK
Locus Solus, Benaki Museum, Athens, Greece
Living in Evolution – Busan Biennale, Busan Museum of Modern Art, South Korea
Crucible, Gloucester Cathedral, UK
Lust for Life and Dance of Death, Kunsthalle Krems, Austria
Passion Fruits, Me Collectors Room, Berlin, Germany
Dead or Alive, Museum of Arts and Design, New York, United States
The Art of Chess, Dox Centre for Contemporary Art, Prague, Czech Republic
Wonderland, Assab One, Milan, Italy
2009
The Age of the Marvellous, All Visual Arts, One Marylebone, London, UK
Distortion, Gervasuti Foundation, Venice, Italy
The Art of Chess, Reykjavik Art Museum, Reykjavik, Iceland
2007
Still life, still, T1&2 Gallery, London, UK
The Avatar of Sacred Discontent, 9 Hillgate Street, London, UK
Nature and Society // Parallel Lines, Ethnographic Museum, Dubrovnik, Croatia
Says the Junk in the Yard, Flowers East, London, UK
Conflict, 20 – 21 Visual Arts Centre, Scunthorpe, UK
Obstacle – New UK Sculpture, Spectacle, Birmingham, UK
ARTfutures, Bloomberg Space, London, UK
Waste & the Lost World: Memento Mori, Adventure Ecology HQ, London, UK
2006
Houses in motion, Fieldgate Gallery, London, UK
Panpoticon, Bearspace, London, UK
2004
If you go down to the woods today, Rockwell, London, UK
Selected Sculpture, Max Wigram Gallery, London, UK
New Blood, Saatchi Gallery, London, UK
Esoterica, Ibid Projects, London, UK
Born, Cry, Shit, Fuck, Die, Rockwell, London, UK

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Collections include
Tremenheere Sculpture Garden, Penzance, UK
Olbricht Collection, Berlin, Germany
ERES Stiftung, Munich, Germany
Soho House, New York, USA
Black Flag, Kiev, Ukraine
Murderme, London, UK
Cass Sculpture Foundation, Sussex, UK
Groucho Collection, London, UK
Sammlung Weiss, Bremen, Germany
Frédéric De Goldschmidt, Brussels, Belgium
Hiscox Art Projects, London, UK
Salsali Museum, Dubai, UAE
David Roberts Art Foundation, London, UK
Saatchi Collection, London, UK
P.O.C, Brussels, Belgium
Wellcome Collection, London, UK
Turner Museum, Sheffield, UK
Kunstkammer Georg Laue, Munich, Germany

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Extract from interview with FLOORR Magazine April 2026

Could you tell us a bit about yourselves and your backgrounds?

We were born the same year but in very different worlds. Ally grew up in a coastal farming community in southern Cornwall – a very English childhood. Fleur was born in the South of Cameroon, in a small village in the rainforest, before moving – quite chaotically – between Cameroon, France and the UK.

We both eventually moved to London and met at art school in the late 1990s, Ally studying sculpture and Fleur illustration. The London art scene was completely new to us. It was an exciting time to be young artists and a place where we felt free to be ourselves and begin working out what that meant.

After graduating we supported ourselves with part-time jobs and began working together intermittently, first from the living rooms of rented flats and later from a studio in a disused storage unit off Hackney Road.

In 2011 we left London and moved to a farm on the cliffs in North Cornwall, working from a converted corn storage barn. Our daughter was born in 2013. Living there marked an important shift for us. The work slowed down and began to develop more quietly.

Your sculptures often involve carefully stacked or reconfigured found materials, sometimes placed directly within dramatic natural landscapes. What draws you to this act of balancing and reassembling objects, and how do you decide when a form feels resolved rather than precarious?

Often the materials we work with arrive already shaped by forces that have acted on them long before we encounter them. In that sense the landscape is important, not as a backdrop but as the set of conditions that have brought about those changes. There’s a symbiosis there – you can’t really separate one from the other.

Rather than beginning with a fixed design, the work often starts by asking what a material already does and how it behaves. Different materials carry their own ways of being organised in the world. Eggs are stacked on shelves, beads are threaded, timber is worked by a carpenter. We’re often drawn to materials that already carry these kinds of histories or systems of use. Our role tends to follow those tendencies rather than resisting them.

A work feels resolved when the materials settle into a kind of internal logic. At that point nothing more needs to be added or removed, and the structure feels both inevitable and improbable at the same time.

You work collaboratively through slow, deliberate sculptural processes. How does working as a duo shape the development of a piece, from sourcing materials to making decisions about form, and how do you navigate moments of disagreement or uncertainty?

We’ve been together for twenty-six years, so working collaboratively now feels no different from working as a single practice. In many ways our working relationship mirrors our day-to-day life: decisions tend to emerge through conversation rather than through one of us arriving with a fully formed idea.

We don’t have fixed roles. Instead the work develops through a kind of balancing, where we respond to what the other is noticing or questioning. That exchange continues into the making of the work itself, where decisions about form emerge through the same ongoing dialogue.

Our working relationship also plays out in very practical ways. Some of the places we collect materials from can be physically precarious, so one of us will sometimes go while the other stays back. That creates a kind of informal safety system, but it also reflects the way we operate more broadly – our attention shifts depending on what’s needed.

Disagreement and uncertainty are inevitable. Instincts sometimes clash, but those tensions can be productive. They help sharpen the work, and resolution usually emerges through a process that continues until things settle into something that feels right.

You describe your practice as engaging with material histories and multiple timescales across ecological and geological systems. When working with found materials, how do you approach their past lives, and what role does transformation play in revealing or reshaping those histories?

Many of the materials we work with already carry long and layered histories. Some originate in biological or geological processes that extend far beyond human timescales, while others have passed through layers of industry before eventually finding their way back into the landscape.

What interests us is the meeting point between those histories and the immediate circumstances in which we encounter a material. An object might appear to belong to the present moment – found in a shop or lying in a field – yet it can also contain a much deeper story. Timber may come from a tree that grew thousands of years ago under different environmental conditions, while a fragment of plastic might once have been part of a large industrial system before being broken apart and redistributed by tides and weather. Even those synthetic materials ultimately originate in substances drawn from the earth itself.

When we work with these materials we try to be aware of both the immediate situation and the longer chain of transformations that produced them. The role of the work is not to impose a new narrative, but to bring different timescales into proximity so that those histories can be experienced within the present.