art, reassessed.
We think the relationship between gallery and artist needs a reassessment.
© 2026
London
Kathryn Armitage
‘Disrupting the Beautiful’
Our lastest series ‘Disrupting the Beautiful’ explores fashion not as ornament, but as a language of power. Across two works in this series, Kathryn treats clothing as a site where desire, control, rebellion, and identity collide — staged directly on the female body.
Anchored in the visual language of the Dutch Golden Age, the series borrows its compositional authority: dramatic lighting, hierarchical arrangements, and opulent textiles. Yet those historical references are deliberately destabilised. The male-dominated scenes of power are rewritten, placing the female figure at the centre, not as muses or allegories, but as active agents performing themselves into visibility.
Elizabeth Wilson’s ‘Adorned in Dreams’ provides a conceptual framework for the work. Wilson describes fashion as a semiotic system — a visual language through which ideas, beliefs, and desires circulate. It is inherently ambivalent: capable of objectifying the body, particularly the female body, but equally capable of becoming a tool of resistance. This tension sits at the core of Kathryn’s practice.
In ‘Disrupting the Beautiful’, femininity is exaggerated until it becomes confrontational. Collars inflate, cosmetics intensify, garments push beyond seduction into spectacle. The erotic is twisted into something closer to protest. Rather than shrinking, these figures take up space — psychologically, visually, historically.
The surface of the works mirror this tension. Precisely rendered fabrics sit alongside gestural, unstable passages of paint. Representation and performance collide. Fashion becomes architecture, armour, theatre.
Together, the works position beauty as something unstable rather than fixed: a construct to be questioned, stretched, and disrupted. What emerges is not a rejection of beauty, but a refusal of its traditional limits — and a reassertion of agency through dress, paint, and presence.
THE SIT DOWN
The artist’s studio is a sacred space, where creative rituals and unfiltered thoughts come to fruition. Seeing artists in their natural habitats, these carefully curated environments, is always a revealing process.
At Parallel Form, spending time with artists in their studios is central to how we work. it is where the work really begins to make sense
The Sit Down takes you inside these spaces — not just to look at finished paintings, but to understand the thinking behind them. The references pinned to the wall, the works turned away mid-process, the ideas that sit somewhere between certainty and doubt.
Because often, it’s here — long before an exhibition — that the real story of a work unfolds.