Love is the answer

Geoffrey Chambers’ solo exhibition is a contemplative journey into love and lore, unfolding through an expansive constellation of paintings, sculptures, performances, and film. Rooted in the Clay Chorus workshops of Summer 2025, the work arises from collective acts of making—gestures shaped in community and attuned to breath, rhythm, and shared presence.

This new body of work conjures intimate and speculative sites of communion, where migration, labour, and cultural memory interlace. Chambers invites viewers to step inside these layered worlds, tracing the echoes of ancestral stories, the textures of belonging, and the rituals we craft to make sense of who we are. The works are linked by an evolving mythology—one forged between people, materials, time and the landscapes that hold them.

At once tender and expansive, the exhibition reflects on how stories transform across time, and how art can be a vessel for reimagining the worlds we inherit and the ones we dream into being.

Room 1 - Artefact

This exhibition brings together a large-scale flag installation, collaborative silkscreen prints, ritual adornments, ceramic masks, and painting. Reworking the St George’s flag through humour and scale, the work explores how national and spiritual symbols shift meaning across celebration, protest, memory, and love. Drawing on Caribbean and West African traditions, the pieces move between ritual, identity, and contemporary image-making

Room 2 Whilst we Live

Inspired by childhood memory, family photographs, and documentary images of South London, this series explores what Toni Morrison describes as “re-memory” — the active return to the past as it reshapes the present. Moments of play, isolation, political awakening, and first love are held between documentation and imagination.

Room 3 - Clay Chorus

Ceramic sculptures and vessels, burlap

Developed through the Clay Chorus workshops, these sculptural masks and vessels draw on African, Caribbean diaspora, American, and European masking traditions. Wrapped in printed coffee sacks referencing migration and exchange, they form a collective voice. Do Not Puncture is a sculpture shaped by movement, trade, and imagined resonance.