Matt Connors, Harlequin, 2023. Courtesy the artist.

Mark McKnight, Echo, 2015. Courtesy the artist and Kendall Koppe, Glasgow.

Suzanne Jackson, Tilt-Color Smash, 2022. Courtesy the artist and Ortuzar Projects, New York. Photo by David Kaminsky.

Masahisa Fukase, HIBI 56, 1991. Courtesy of the artist and Michael Hoppen Gallery.

Miyoko Ito, Monongahela, 1961. (C) Estate of Miyoko Ito.

Matt Connors, Harlequin, 2023. Courtesy the artist.


With: Clarice Cliff, Guy de Cointet, Robert Cumming, Deondre Davis, Masahisa Fukase, Joe Gilmore, Luigi Ghirri, Daan van Golden, Jan Groover, Miyoko Ito, Suzanne Jackson, Mark Armijo McKnight, Bob Law, Siobhan Liddell, Christodoulos Panayiotou, Matt Paweski, Cora Pongracz, Kye Potter, Ryan Preciado, Patrick Prockter, Barbara T Smith, and Masaomi Yasunaga.

Matt Connors’ abstract paintings, drawings, and sculptures sensitively and intuitively balance colour and form to create affective artworks that often respond to architectural space and have a deep connection with art history. His rich network of references crosses the fields of photography, music, Modernist painting, printed matter, and poetry, of which he is a collector, publisher, and fan. Finding Aid is Connors’ first UK institutional exhibition and is conceived as an invitation to create a spatial manifestation of this broad network of ​relationships, staging his works in dialogue with other artists and designers.

Finding Aid – which references a meta-document produced by archivists used to navigate a collection – will feature new and existing works by Connors, alongside works by invited artists that emphasise linguistic structures, reflections, echoes, and formal connections, combining to create a poetic after-image.​ Connecting many of the works is a sense of movement between medium and framing, ideas echoed in Connors’ paintings which suggest slippage through marks and overlays, or sometimes more literally as three-dimensional forms. Images are explored as simulacra whose meanings are mutable; Connors’ eye is particularly drawn to systems, doubling, translation, and plays on scale.​

​​The surfaces of Connors’ works convey a sense of redrafting, mapping the gradual development or elaboration of an image-idea. This instinctive treatment of art is reflected in the artist’s approach to exhibition making, with connections between pieces in the exhibition existing as a record of thought. The artists included will evolve as the exhibition develops – as will the choices behind the presentation of Connors’ own work – up until the date the exhibition opens.


Emma and Fred Goltz
Guillaume Sultana and Pierre Beucler
Herald St
Misako & Rosen
The Modern Institute
Ortuzar Projects
Xavier Hufkens


Matt Connors (b. 1973, Chicago) lives and works in New York and Los Angeles. He was included in the 2022 edition of the Whitney Biennial, Quiet as It’s Kept, Whitney Museum of American Art, New York. Other institutional exhibitions include: Lismore Castle, Waterford, Ireland (2022); Le Consortium, Dijon (2018); Kunstmuseum Bonn (2015); MoMA, New York (2014) Walker Art Center, Minneapolis (2013); MoMA PS1, New York (2012), Kunsthalle Düsseldorf, Germany (2011). In 2015, Matt Connors was a resident at the Chinati Foundation, Marfa, Texas. In 2012, he published the award-winning book ’A Bell is a Cup’.

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Clarice Cliff (1899-1972) is regarded as one of the most influential ceramics artists of the 20th Century and her work is collected, valued and admired the world over. Cliff’s ceramics, with their distinctive shapes and appealing, bright colours, brought modernity to the kitchen sink. In the 1970s and 1980s, her extensive range of abstract, geometric, landscape and floral designs revived their popularity, leading to worldwide collectability, and establishing Cliff as one of the key names of the Art Deco movement. Her work can be found in the collection of the Victoria & Albert Museum (London) among others. 

Guy De Cointet (1934-1983) lived and worked in Los Angeles. He was an influential if somewhat marginal figure in the Los Angeles art community from the 1960s. De Cointet’s art relates in many ways to the question of archiving and documentation. It is about reading and interpreting – drawings and paintings, objects and books are correlated to writings or printed matter. Most of the works are also traces and documents of the specific events they were part of. Solo exhibitions include Museum Leuven, Belgium (2015); Centre Georges Pompidou, Paris (2013); The Museum of Modern Art, New York (2012); and The Getty Center, Los Angeles (2011). His work is in the collections of The Museum of Modern Art, New York and the Museum of Contemporary Art, Los Angeles, among others. 

Deondre Davis (b.1991, Chicago) lives and works in Los Angeles, is a self taught painter and object maker whose main interests lie at the intersections of architecture, space, and identity. These topics inform his practice which primarily consists of painting with a focus on abstraction and a meticulous application of colors and textures to convey emotions connected to personal experiences.

Masahisa Fukase (1934-2012) graduated from Nihon University College of Art’s Photography Department in 1956, Japan, and became a freelance photographer in 1968. Fukase’s work has been exhibited widely at institutions such as the Museum of Modern Art, New York, the Oxford Museum of Modern Art, Oxford, the Foundation Cartier pour l’Art Contemporain, Paris, and the Victoria & Albert Museum, London. His work is held in major collections including the Victoria & Albert Museum, the San Francisco Museum of Modern Art, the Metropolitan Museum of Art, New York, and The J. Paul Getty Museum, Los Angeles.

Joe Gilmore is a graphic designer. He designs books, exhibition catalogues, music packaging, identities and websites for artists, musicians, galleries and cultural institutions, businesses and individuals. In addition to client-based work, he initiates and produces independent curatorial, artistic and research projects which focus on typography, the image archive, the artist’s book, publishing, audio art and graphic design. 

Luigi Ghirri (1943–1992) spent his working life in the Emilia-Romagna region of Italy. Although he exhibited extensively in Italy during his lifetime, it is only since his untimely death that his work has begun to be more widely appreciated. In 2010 Thomas Demand organized the acclaimed exhibition La Carte d’Après Nature around Ghirri’s photographs, and in 2011 and 2013 Ghirri’s work was featured in the Venice Biennale. His work has been the subject of several museum exhibitions in recent years, including at the Castello di Rivoli in Turin, the MAXXI Museum in Rome, the Instituto Moreira Salles in São Paulo and Rio de Janeiro, and the Douglas Hyde Gallery in Dublin. In 2018 the first major retrospective of his work at a museum outside of Italy opened at the Museum Folkwang in Essen and later traveled to the Museo Reina Sofía in Madrid and the Jeu de Paume in Paris. 

Daan van Golden (1936-2017) lived and worked in Schiedam, The Netherlands. Recent solo exhibitions include Museum Boijmans Van Beuningen, Rotterdam (2017); Greene Naftali, New York (2016); Misako & Rosen, Tokyo (2014); GEM Museum Voor Actuele Kunst, The Hague, The Netherlands (2014); Wiels, Brussels (2012); MAMCO, Geneva, Switzerland (2009); and Camden Arts Centre, London (2008). Select public collections include the Art Institute of Chicago; Stedelijk Museum, Amsterdam; and the Museum Boijmans Van Beuningen, Rotterdam, among others.  

Jan Groover (1943-2012) was an American photographer who experimented with space and illusion in large-format still-life tableaux that featured everyday objects, particularly kitchen utensils. She attended Pratt Institute in Brooklyn, New York and graduated in 1965 with a Bachelor of Fine Arts in painting. In addition, she enrolled in a Master of Fine Arts at Ohio State University. She received a John Simon Guggenheim Foundation Fellowship in 1979. In 1987, Groover had a major retrospective at the Museum of Modern Art which subsequently toured the United States. Her work has been exhibited and included in the collections of most major museums worldwide.

Miyoko Ito (1918-1983) began exhibiting her work in the early 1940s. During her lifetime, her paintings were included in important group exhibitions like the 1955 Carnegie International, Chicago Imagist Art at the Museum of Contemporary Art, Chicago in 1972, and the 1975 Whitney Biennial. She had one-person exhibitions at the Hyde Park Art Center in Chicago in 1971 and The Renaissance Society at the University of Chicago in 1980. More recently the Berkeley Art Museum had an exhibition of her work in 2017, a version of which travelled to Artists Space in New York the following year. 

Suzanne Jackson (b. 1944, St. Louis, Missouri, USA) lives and works in Savannah, Georgia. She received an MFA in theater design from Yale University in 1990 and is a recipient of the Jacob Lawrence Award from the Academy of Arts and Letters (2022), an Anonymous Was A Woman grant (2021), NYFA Murray Reich Distinguished Artist Award (2020) and a Joan Mitchell Foundation Painters & Sculptors Grant (2019). Recent solo and survey exhibitions include Somethings in the World, Galleria d’Arte Moderna of Milan (2023); To Bend the Ear of the Outer World: Conversations on contemporary abstract painting, Gagosian, London (2023); Tennessee Triennial for Contemporary Art, Knoxville Museum of Art (2023); Suzanne Jackson: Listen’ N Home, the Arts Club of Chicago (2022); Just Above Midtown: Changing Spaces, the Museum of Modern Art, New York (2022); Joan Didion: What She Means, Hammer Museum, Los Angeles (2022); Suzanne Jackson: Five Decades, Jepson Center/Telfair Museums, Savannah (2019); Life Model: Charles White and His Students, Los Angeles County Museum of Art (2019); among others. Her work is held among others in the collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; San Francisco Museum of Modern Art; Buffalo AKG Art Museum; MCA San Diego; California African American Museum, Los Angeles; Baltimore Museum of Art; and Art Institute of Chicago. 

Bob Law (1934-2004) is considered amongst the founders of British Minimalism. Bob Law’s work defies easy categorisation and ranges across drawing, painting and sculpture that retains a firm yet always uneasy embrace of pure abstraction. Bob Law presented solo exhibitions at some of the most prestigious galleries across Europe, including Konrad Fischer, Dusseldorf (1970) and Lisson Gallery, London (1971). Later in the decade he had two major solo exhibitions: ’10 Black Paintings 1965-70′, Museum of Modern Art, Oxford, UK (1974) and the retrospective ‘Bob Law: Paintings and Drawings 1959-1978’ at the Whitechapel Gallery, London, UK curated by Nicholas Serota (1978). His work is included in numerous private and public collections throughout the world, including Tate, London, UK; the British Museum, London, UK; The Guggenheim Museum, New York, NY; the Stedelijk Museum, Amsterdam; the Art Gallery of New South Wales, Sydney; Museum Sztuki, Lodz, Poland; and the Panza Collection, Varese, Italy, amongst others.

Siobhan Liddell (b. 1965, Worksop) lives and works in New York. She is a graduate of Central Saint Martins, University of Arts, London. Liddell has presented solo exhibitions at Hollybush Gardens, London (2023); Gordon Robichaux, New York (2022 and 2019); CRG Gallery, New York (2010, 2006, 2002, 1999); Thread Waxing Space, New York (1993); Trial Balloon, New York (1992); Hammer Museum, Los Angeles (2000); Galerie Eric Dupont, Paris (2010, 2005, 2003, 1995); Henry Moore Institute, Leeds, UK (2001); Bob van Orsouw, Zurich (2001, 1998); and CCA Kitakyushu, Fukuoka, Japan (1997).  Liddell’s work is held in the collections of the Hammer Museum, Los Angeles; the Whitney Museum of American Art, New York; and the Dallas Museum of Art. Reviews of her work have appeared in the New York Times, the New Yorker, Frieze, the Brooklyn Rail, the Los Angeles Times, the Village Voice, Art on Paper, and Flash Art.

Mark McKnight (b. 1984, Los Angeles, California, USA) is an artist and photographer. He attended College of the Canyons in Santa Clarita and transferred to the San Francisco Art Institute. In 2009 he was a Fulbright Scholar in Finland. McKnight received an MFA from the University of California, Riverside. Selected solo exhibitions include Kendall Koppe Gallery, Glasgow, U.K; Park View / Paul Soto, Los Angeles, CA; Klaus von Nichtssagend Gallery, New York; Aperture Foundation, New York; James Harris Gallery, Seattle. Select group exhibitions include K11 Museum, Hong Kong; Southern Exposure, San Francisco, CA; Museum of Contemporary Art Tucson; California Museum of Photography & Riverside Art Museum, Riverside; J. Paul Getty Museum, Santa Monica. His work is in the collections of Los Angeles County Museum of Art; The Henry Art Gallery, Seattle; LightWork, Syracuse, NY. 

Christodoulous Panayiotou (b.1978, Limassol, Cyprus) lives and works between Limassol and Paris (France). Solo exhibitions of his works have taken place at the Musée d’Orsay, Paris; Camden Arts Centre, London; Casa Luis Barragán, Mexico City; Moderna Museet, Stockholm; Kunsthalle Zürich; Museum of Contemporary Art Leipzig; and Cubitt, London. His work has also been shown in a large number of group exhibitions and museums including the Center Pompidou, Paris; Joan Miro Foundation, Barcelona; Philadelphia Museum of Art, Philadelphia and MoCA Miami. Panayiotou represented Cyprus at the Venice Biennale in 2015. He has participated in major international events such as the Documenta 13 in Kassel, the 14th Biennale de Lyon, the 8th Berlin Biennale, the 7th Liverpool Biennial, Performa 15, the 6th Taipei Biennial and the 8th Biennial of Melle, France.  

Matt Paweski (b. 1980, Detroit, Michigan, USA) lives and works in Los Angeles. He has presented solo exhibitions at the Wadsworth Atheneum Museum of Art, Hartford, CT (2023); Gordon Robichaux, New York (2021 and two-person with Sanou Oumar, 2018); Herald Street, London (2020, 2017, 2014); Octagon, Milan (2019); Park View / Paul Soto, Los Angeles (2018); Lulu, Mexico City (with Ella Kruglyanskaya, 2018); Ratio 3, San Francisco (2016); and South Willard, Los Angeles (2015, 2013, 2012). Group exhibitions include White Columns (curated by Mary Manning), New York; Queer Thoughts, New York; La MaMA Galleria (curated by Sam Gordon), New York; Bodega, New York; Harris Lieberman, New York; and Wallspace, New York; Parker Gallery, Los Angeles; South Willard, Los Angeles; PHIL, Los Angeles; Cherry and Martin, Los Angeles; Thomas Duncan Gallery, Los Angeles; 356 Mission, Los Angeles; Richard Telles Fine Art, Los Angeles; Octagon, Milan; Librairie Yvon Lambert, Paris; Palais de Tokyo, Paris; kurimanzutto, Mexico City. His work has been reviewed and featured in numerous publications, including The New YorkerThe New York TimesApartmentoMousseContemporary Art Review Los Angeles, Contemporary Art Daily, ArtforumLos Angeles Review of BooksArtnetDwell MagazineArt in AmericaFlash Art, and New York Times T Magazine. In 2020, his first monograph, MP.19, was published by Zolo Press.

Kye Potter (b. 1975, Ann Arbor, MI) is an artist living and working in Los Angeles, CA. For the past 20 years he has been publishing books, releasing records and tapes, curating art exhibitions and organizing concerts. He recently co-edited a book of children’s poetry titled Naive Poems. He designed the typeface, Letter Lattice, which is on display both as exhibition title / wall piece and as a gouache drawing. It came out of his interest in concrete poetry and the aesthetic joy experienced in constructing and deconstructing language.

Ryan Preciado (b. 1989, Los Angeles, California, USA) is an artist/designer based in Los Angeles. He was raised in Nipomo, CA on his ancestral Chumash homelands. Recent exhibitions include Body Forth / A Cliff to Climb, a two-person exhibition with Matt Conners at Canada, New York (2022) and Downhearted Duckling, a group exhibition featuring Diana Yesenia Alvarado, Mario Ayala, rafa esparza, Magdalena Suarez Frimkess, and Alfonso Gonzalez Jr. organized by Preciado at South Willard Gallery, Los Angeles (2021).  Highway Hypnosis is his first solo exhibition.  

Patrick Procktor (1936-2003) was an English artist whose work depicted figures using diverse styles. His paintings gave insight into both contemporary life and psychological character, using thin washes, and airy colours, to convey the attitude and emotion of his sitters. The artist was included in the seminal 1963 exhibition “New Generation” at Whitechapel Gallery. The artist’s works are held in the collections of the Fitzwilliam Museum in Cambridge and the Royal Academy of Arts in London.

Since the 1960s, Barbara T. Smith (b. 1931, Pasadena, California, USA) has demonstrated in her work an engagement with issues of spirituality, gender, and power, making vital contributions to both feminist discourse, and the history of West Coast performance art. Smith’s work is currently included in Experiments in Electrostatics: Photocopy Art from the Whitney’s Collection, 1966–1986, Whitney Museum of American Art, New York, through March 2018. Smith received her BA from Pomona College in 1953, and MFA in 1971 from University of California, Irvine where she was a founding member of F-Space with Chris Burden and Nancy Buchanan. She has exhibited widely since the 1960s, and her work been represented in several historic survey exhibitions that include Whatever Happened to Sex in Scandinavia?, Office for Contemporary Art, Oslo, Norway, 2009, and WACK! Art and the Feminist Revolution, MoCA, Los Angeles, 2007, State of Mind, New California Art since 1970, Orange County Museum and Bronx Museum and The Radicalization of a 50’s Housewife at University of California, Irvine. 

Masaomi Yasunaga (b.1982, Osaka, Japan) lives and works in Iga-shi, Mie Prefecture, Japan. He has a Masters Degree in Environmental Design from Osaka Sangyo University. Recent solo exhibitions include In Holding Close at Jule Collins Smith Museum of Fine Arts, Auburn, USA (2023), Looking Afar at Lisson Gallery, New York, USA (2022), Masaomi Yasunaga at Lisson Gallery, East Hampton, NY, USA (2021); Empty Parade at wad Café, Osaka, Japan (2020); To things that exist, to things that don’t exist at gallery YDS, Kyoto, Japan (2020); Empty Landscape at Libby Leshgold Gallery, Vancouver, Canada (2020); Masaomi Yasunaga at Nonaka-Hill, Los Angeles, CA, USA (2019); Masaomi Yasunaga: A Shadow of the Eternity at Utsuwakan, Kyoto, Japan (2019); Memory of Orient at Gallery Utsuwa Note, Kawagoe, Saitama, Japan (2018); Masaomi Yasunaga Exhibition at Garb Domingo, Okinawa, Japan (2017); and arid landscapes at pramata, Tokyo, Japan (2017). Selected group exhibitions include CHAOS curated by Alex May, Carpenters Workshop Gallery, Los Angeles (2023), Enamel & Body / Ceramics, Ginza Maison Hermès Le Forum, Tokyo (2023, OBJECT&THINGS at The Noyes House, Connecticut (2022), Romantic Progress, Museum of Modern Ceramic Art, Gifu (2022), Sterling Ruby and Masaomi Yasunaga at Nonaka- Hill, Los Angeles, CA, USA (2020). His work is included in the permanent collections of the Jule Collins Smith Museum of Fine Arts, Auburn, USA, the Ariana Museum, Geneva, Switzerland and The Museum of Fine Arts, Houston, TX, USA. 

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