A new feeling - photographic group exhibition

A New Feeling is a group exhibition of photographic works presented at Four Corners from 3–8 February 2026. Bringing together artists whose practices engage with atmosphere, trace, and emotional residue, the exhibition approaches absence not as negation, but as a condition that can be felt, accumulated, and materially perceived. Across diverse photographic languages and material strategies, absence emerges as something active—shaped by memory, migration, intimacy, and the quiet persistence of lived experience.

Artists:

Bianca Pascu, Danaia Konstantinova, Irene Ferri, imoutta, Kaven Lee, Kexin Liang, Lola Mirmuminova, Maggie Rose, Matilde Salreta, Mina (Jeongmin) Park, Robyn Daly, Sherilyn Lee Wan Xin, Tom Groves, Tugce Ozbicer Djemil, Viola Wittrocka, Viktoriia Chernykh, Wai Hang Siu, Wenpei Zhang, Xinyu Gao, Xinyue Tao, Yifan Jing, Yoanna Walden, Yu Li, Yucen Liu, Zhilin Xiang

Curator: K:art Studio x Jake Walters

Venue: Four Corners, 121 Roman Rd, London E2 0QN

Dates: Feb 3—8, 2026

Rather than treating photography as a vehicle for representation or explanation, A New Feeling foregrounds its affective potential. The works on view resist narrative closure and descriptive certainty, operating instead through suggestion, suspension, and delay. Meaning is not delivered but held in tension, lingering between what is visible and what is sensed. In this way, the exhibition aligns with contemporary photographic practices that privilege atmosphere and embodied perception over legibility.

Several works explore absence through psychological and interior states. Bianca Pascu’s A Visual Journey Through the Psyche fragments presence into pauses and shadows, allowing silence to function as structure rather than emptiness. Lola Mirmuminova’s Angles of Absence similarly treats absence as a temporary spatial configuration, where geometric tension records what has passed without memorialising it. Kaven Lee’s Held Breath captures a suspended bodily state, registering pressure and vulnerability without forcing resolution.

Material intervention and process play a central role in articulating emotional residue. Danaia Konstantinova’s mordançage print Absent but Seen disrupts the photographic surface itself, allowing dissolved forms to embody the persistence of long-faded relationships. Xinyue Tao’s darkroom-based works introduce childhood objects as gentle obstructions, framing memory as layered, partial, and continually unfolding. Wai Hang Siu’s Postcard (Round Trip) subjects the photographic image to physical circulation, transforming damage and wear into markers of migration and continuity.

Other artists approach absence through space, architecture, and environment. Mina Park’s Where the Eye Doesn’t Stay directs attention to domestic blind spots, where overlooked debris becomes an unintended archive of presence. Yu Li’s In Transit series examines how urban structures mediate identity, using grids and partial reflections to stage distance as a form of portraiture. Robyn Daly’s decaying interiors hold movement and stillness in tension, allowing imperfection to become a site of transformation rather than loss.

Questions of displacement, longing, and political rupture surface across several practices. Tugce Ozbicer Djemil’s Hasret confronts migration as an ongoing condition rather than a single event, tracing how absence stretches across daily life. Irene Ferri’s long-term project No Other Country but America documents disillusionment through accumulation, revealing how ideals erode into unsettling familiarity. Zhilin Xiang’s intimate domestic images register migration through quiet details, where home persists as emotional trace rather than stable location.

Embodiment and vulnerability are further explored through performative and staged encounters. Viktoriia Chernykh’s rehearsal image isolates the performer within darkness, producing an unsettling proximity between exposure and concealment. Viola Wittrocka’s Hidden Inside situates the body within a confining interior, where space both shelters and presses down, absorbing tension over time. Yoanna Walden’s Re-creation reconstructs inherited memory through gesture, acknowledging connection as fragile and incomplete.

Several works dwell in the realm of the poetic and the sensory. Matilde Salreta’s womb evokes nostalgia as an archaic force that resists naming, while Wenpei Zhang’s Resting Pulse uses a single abandoned object to make absence the most tangible presence within the frame. Xinyu Gao’s East Coast unfolds memory as atmosphere, shaped by repeated walks and sensory recall rather than fixed geography. Sherilyn Lee Wan Xin’s Transient Silence series frames presence itself as a form of dialogue, where proximity, landscape, and stillness communicate beyond language.

Across the exhibition, absence is never treated as lack. Instead, it appears as residue, pressure, distortion, or delay—something that accumulates through habit, repetition, and emotional proximity. A New Feeling asks how photography can hold what resists articulation, allowing uncertainty to persist rather than be resolved. In doing so, the exhibition proposes a mode of looking that is slow, affective, and attentive, inviting viewers to remain with what is felt but not fully known.