Rumours
19 Jun—18 Sep 2026To celebrate its 15th anniversary, Large Glass gallery is delighted to present Rumours, a group exhibition featuring works by 25 artists (of many) selected from over 50 exhibitions.
The title of this anniversary exhibition Rumours is borrowed from the Fleetwood Mac album of the same name. At the time of the album’s release, Patrick McKay of Stylus Magazine wrote: “What distinguishes Rumours—what makes it art—is the contradiction between its cheerful surface and its anguished heart”.
Over the last 15 years of Large Glass, alongside and sometimes part of the exhibitions, there have been some memorable pieces of writing about artworks, thoughts, themes and exhibition-making. Some of them are below.
“The blue grey colours far out had more dull substance than he remembered, but these colours were cut now by an island of molten white light from the sun which lay on a stretch of the water, holding it in thrall, so that what he saw was a clean fierce beauty.” Colm Toíbín, On Beauty (June 2014)
“Secretive, transgressive, tight, crisp, bitter, sustaining and sweet, apples run through our culture like a small, firm promise in our hands. Both simply domestic and densely resonant, the apple has inspired countless artists and writers. It remains a symbol, not only of sin and The Fall, but also of knowledge, life, love and hope.” AL Kennedy, With An Apple I will Astonish (October 2012)
“She turned around, and noticed a giant bramble that was pushing through a gap in the pavement and making its way up the yellow-brick wall. It was hollow, she thought, just like me. Simone looked down at her hands, and noticed that her skin had started to ripple too. She raised the index finger of her left hand and extended it towards a thorn. Rather than pricking her skin, it passed right through.” Rosanna Mclaughlin, Megaflora (April 2021)
“The chair [Square Hole Two] evolved from the idea of using a square hole as a connection. Logic dictates that you cannot drill a square hole and after many years of thinking that this indeed was the case, Martino was happy to stumble upon the mortiser.” Martino Gamper, A Drawing While Waiting for an Idea (May 2012)
“[Richard] Wentworth’s multifarious chairs are a reminder of and a furthering of Plato’s original ideal/ real chair. If all the chairs can be held by the idea of chairness, then one single chair will hold the existence of multiple idea, reality, ideality.” Ali Smith, Edge of the Seat (March 2014)
“The plank of wood is an artefact from 2003, imagining and practicing extending the perception of an ‘instant’ into the course of an entire day. Second-century Buddhist philosopher Nagarjuna proposed that there were 65 ‘instants’ in the click of a finger, and that one ‘instant’ was the length of time between a cloudless perception and a clouding intellect.” Hendl Helen Mirra, la malplena ĉambro estas bela (September 2020)
“The Coyote reappears. [Joseph] Beuys’ encounter with the North American Coyote in 1974 has never lost its’ appeal or relevance. Indeed, the human longing for a meaningful dialogue with Nature has increased with each generation. So too has the human pressure on the other species that share our planet. Too many people, using too much of the Earth’s resources, and eroding the wild places of which we should be the custodians, and what can we do about it? That seems to me to be the basis for today’s dialogue with Coyote!” Caroline Tisdall, Coyote: Caroline Tisdall / Joseph Beuys (October 2011)
“In Chaucer, and other writers of Middle English, Ariadne’s ball of thread is called a clewe. It’s a word that comes from the Old English cliewen, which means a sphere, a ball, or a skein of thread. In time this old Germanic word entirely lost its material significance and became our word “clue”. It means that every time we untangle a mystery, or unravel a complicated chain of associations, we are being helped by Ariadne’s thread. I shall follow it, wherever it leads, in this new labyrinth.” Charlotte HIggins, In the Labyrinth (February 2019)
“What is crucial is the taking place of the place, which is also the taking place of nothing: 'RIEN...N'AURA EU LIEU...QUE LE LIEU'. The X, of course, also means that the present is precisely not absolute, since it is from a point of view. Presentness is performative rather than descriptive - the outcome of a set of operations - which may be extended to the exhibition as a whole.” Michael Newman, After Mallarmé (June 2024)
“These hands work as metonyms for photography as they point to things outside the frame, seize translucent objects like glasses, or draw with light, repeatedly staging a performance of the act of photographing.” Marina Spunta, Di sguincio (February 2023)
“As a sign, the Moon has suffered from over-use: its address to mystery, changeability, femininity, wonder and the like, is as familiar as Stéphane Mallarmé’s worn coin, now sat up there in the night sky. It is difficult to bring it down to earth, but to do so might be the only way to launch it again. In a rebus-like gesture, Trevor Shearer’s Partial Eclipse (of The Riddle of the Universe) (1999) succeeds by way of a deadpan but enigmatic marriage of the cosmic and the comic.” Ed Krčma, Universal Fragments (October 2013)
"Enmeshed in infinities, artists and scientists conjure with the universe from within the confines of the human body, under the deadlines imposed by a limited lifespan. They apply mathematics and imagination. They detect tremors emanating from collisions between the most massive dying stars. They hear the music of the spheres." Dava Sobel, The Edge of Forever (June 2025)
The anniversary is thanks to ALL the artists, writers and makers who have exhibited their work and shared their words with us over the past 15 years.
The title of this anniversary exhibition Rumours is borrowed from the Fleetwood Mac album of the same name. At the time of the album’s release, Patrick McKay of Stylus Magazine wrote: “What distinguishes Rumours—what makes it art—is the contradiction between its cheerful surface and its anguished heart”.
Over the last 15 years of Large Glass, alongside and sometimes part of the exhibitions, there have been some memorable pieces of writing about artworks, thoughts, themes and exhibition-making. Some of them are below.
“The blue grey colours far out had more dull substance than he remembered, but these colours were cut now by an island of molten white light from the sun which lay on a stretch of the water, holding it in thrall, so that what he saw was a clean fierce beauty.” Colm Toíbín, On Beauty (June 2014)
“Secretive, transgressive, tight, crisp, bitter, sustaining and sweet, apples run through our culture like a small, firm promise in our hands. Both simply domestic and densely resonant, the apple has inspired countless artists and writers. It remains a symbol, not only of sin and The Fall, but also of knowledge, life, love and hope.” AL Kennedy, With An Apple I will Astonish (October 2012)
“She turned around, and noticed a giant bramble that was pushing through a gap in the pavement and making its way up the yellow-brick wall. It was hollow, she thought, just like me. Simone looked down at her hands, and noticed that her skin had started to ripple too. She raised the index finger of her left hand and extended it towards a thorn. Rather than pricking her skin, it passed right through.” Rosanna Mclaughlin, Megaflora (April 2021)
“The chair [Square Hole Two] evolved from the idea of using a square hole as a connection. Logic dictates that you cannot drill a square hole and after many years of thinking that this indeed was the case, Martino was happy to stumble upon the mortiser.” Martino Gamper, A Drawing While Waiting for an Idea (May 2012)
“[Richard] Wentworth’s multifarious chairs are a reminder of and a furthering of Plato’s original ideal/ real chair. If all the chairs can be held by the idea of chairness, then one single chair will hold the existence of multiple idea, reality, ideality.” Ali Smith, Edge of the Seat (March 2014)
“The plank of wood is an artefact from 2003, imagining and practicing extending the perception of an ‘instant’ into the course of an entire day. Second-century Buddhist philosopher Nagarjuna proposed that there were 65 ‘instants’ in the click of a finger, and that one ‘instant’ was the length of time between a cloudless perception and a clouding intellect.” Hendl Helen Mirra, la malplena ĉambro estas bela (September 2020)
“The Coyote reappears. [Joseph] Beuys’ encounter with the North American Coyote in 1974 has never lost its’ appeal or relevance. Indeed, the human longing for a meaningful dialogue with Nature has increased with each generation. So too has the human pressure on the other species that share our planet. Too many people, using too much of the Earth’s resources, and eroding the wild places of which we should be the custodians, and what can we do about it? That seems to me to be the basis for today’s dialogue with Coyote!” Caroline Tisdall, Coyote: Caroline Tisdall / Joseph Beuys (October 2011)
“In Chaucer, and other writers of Middle English, Ariadne’s ball of thread is called a clewe. It’s a word that comes from the Old English cliewen, which means a sphere, a ball, or a skein of thread. In time this old Germanic word entirely lost its material significance and became our word “clue”. It means that every time we untangle a mystery, or unravel a complicated chain of associations, we are being helped by Ariadne’s thread. I shall follow it, wherever it leads, in this new labyrinth.” Charlotte HIggins, In the Labyrinth (February 2019)
“What is crucial is the taking place of the place, which is also the taking place of nothing: 'RIEN...N'AURA EU LIEU...QUE LE LIEU'. The X, of course, also means that the present is precisely not absolute, since it is from a point of view. Presentness is performative rather than descriptive - the outcome of a set of operations - which may be extended to the exhibition as a whole.” Michael Newman, After Mallarmé (June 2024)
“These hands work as metonyms for photography as they point to things outside the frame, seize translucent objects like glasses, or draw with light, repeatedly staging a performance of the act of photographing.” Marina Spunta, Di sguincio (February 2023)
“As a sign, the Moon has suffered from over-use: its address to mystery, changeability, femininity, wonder and the like, is as familiar as Stéphane Mallarmé’s worn coin, now sat up there in the night sky. It is difficult to bring it down to earth, but to do so might be the only way to launch it again. In a rebus-like gesture, Trevor Shearer’s Partial Eclipse (of The Riddle of the Universe) (1999) succeeds by way of a deadpan but enigmatic marriage of the cosmic and the comic.” Ed Krčma, Universal Fragments (October 2013)
"Enmeshed in infinities, artists and scientists conjure with the universe from within the confines of the human body, under the deadlines imposed by a limited lifespan. They apply mathematics and imagination. They detect tremors emanating from collisions between the most massive dying stars. They hear the music of the spheres." Dava Sobel, The Edge of Forever (June 2025)
The anniversary is thanks to ALL the artists, writers and makers who have exhibited their work and shared their words with us over the past 15 years.
Tonico Lemos Auad
Joseph Beuys / Caroline Tisdall
Hélène Binet
Mario Cresci
Arnaud Desjardin
Cesare Fabbri
Marcello Galvani
Martino Gamper
John Gossage
Guido Guidi
Gerry Johansson
Morgan Levy
Jeff McMillan
Emma McNally
Hendl Helen Mirra
Jeremy Moon
Francesco Neri
James Rosenquist
Mark Ruwedel
Ursula Schulz-Dornburg
Trevor Shearer
Joëlle Tuerlinckx
Alison Turnbull
Richard Wentworth
Cerith Wyn Evans
Enquiries
sales: Charlotte Schepke
info: Leah Mclaine
Joseph Beuys / Caroline Tisdall
Hélène Binet
Mario Cresci
Arnaud Desjardin
Cesare Fabbri
Marcello Galvani
Martino Gamper
John Gossage
Guido Guidi
Gerry Johansson
Morgan Levy
Jeff McMillan
Emma McNally
Hendl Helen Mirra
Jeremy Moon
Francesco Neri
James Rosenquist
Mark Ruwedel
Ursula Schulz-Dornburg
Trevor Shearer
Joëlle Tuerlinckx
Alison Turnbull
Richard Wentworth
Cerith Wyn Evans
Enquiries
sales: Charlotte Schepke
info: Leah Mclaine