Transitions: Changing States of Mind


04 Oct 2019 to 06 Oct 2019
Opening times:

Friday 4th October 6 - 9pm

Saturday 5th October 10am - 5pm

Sunday 6th October 10am - 5pm

For three days only, four emerging female artists from across London will be exhibiting a variety of work including; sculpture, painting and film as part of Transitions: Changing States of Mind to coincide with World Mental Health Day 2019. Each artist will display work exploring the changing states of mental health including an individual’s ability to adjust to society and to the ordinary demands of life and the wider impact this can have.

The exhibition will be held in the Redlees Gallery, a beautiful historic converted stables in the heart of Old Isleworth from 10am-5pm on Saturday 5th and Sunday 6th October. The private view will be held on Friday 4th October 6-9pm, where visitors will have the opportunity to meet the artists in person and discuss work on show. Special performances by singer Rebecca Dignan and spoken word artists on Friday 4th October from 7pm.


Exhibiting Artists:


Rebecca Dignan, Multi-media artist, will be showcasing a series of hanging works which explore her two-dimensional repetitive geometric drawings that transition into three-dimension shapes giving a sense of diversity through structure, light and form. Playing with illusionary spaces, layering drawings and using solid tactile objectivity through oil painting with pockets of real life imagery.


Sushila Devi-Callaghan, Filmmaker and photographer, will be featuring a mixture of moving image and photography. Her work embodies the growth and progression of current day society and its preoccupation with a thirst for mass compliance; forming an unconventionally abstract combination of darkness and hope.


Nadine Fletcher will be showcasing kinetic sculpture, sculptural installation and text-based work exploring our ability to adapt to ordinary life and the authentic self that emerges from the subtle fragments of our darkest subconscious.

Engaging both in sculpture and sculptural performance, in which the spectator becomes the spectacle, Fletcher uses childish objects fused together in a paradigm of innocent brutality.


Chilli Skinner employs craft as a process to highlight the subtleties that occur when one works with their hands. Materials and method often determine how she works and becomes a way of self-reflecting, meditating and rediscovering a sense of purpose. 

These new sculptures become representational of the activity that has occurred, emphasising the battle between human error and striving to reach unparalleled refinement.