Frieze London 2026

Jane Lombard Gallery is pleased to participate in the 2026 edition of Frieze London with a multigenerational presentation of new and recent works by Jane Bustin, Squeak Carnwath, Lucy + Jorge Orta, Michael Rakowitz, Howard Smith, and Sawangwongse Yawnghwe. Tracing temporality, this presentation looks at repetition as a means to explore how the past is remembered, revisited, and transformed.

In Sawangwongse Yawnghwe’s practice, recurring images become a way of revisiting history and connecting the past to the present. Expanding upon his presentation in the 61st International Art Exhibition of La Biennale di Venezia, are works that underline his engagement with colonialism, conflict, and the lasting effects of political and economic upheaval. Central to the booth will be a new painting, The Parallax of Manichean Delirium, which draws on the language of decolonization to consider the violence of rupture and the ways external systems of oppression can be turned inward, producing cycles of self-violence. Juxtaposed with Foreign Mud, which revisits the lifecycle of the opium poppy from beauty to decay, the works offer interconnected reflections on power, exile, and the enduring consequences of political violence. 

Squeak Carnwath and Jane Bustin each engage with the history of painting from distinct feminist perspectives. Carnwath’s layered paintings incorporate handwritten text, recurring symbols, and painterly gestures to foreground personal experience and question the boundaries between the private and public. Her use of domestic imagery, humor, and diaristic language brings traditionally feminized forms of experience into the language of abstraction.  Bustin’s geometric constructions draw on the visual language of Modernism while questioning its conventions through ideas of visibility, desire, and female agency. 

Howard Smith also engages with the language of modernism, using repetition and accumulation to build color, light, and space. On view will be works indicative of his practice in the 1970s, signified by an experimentation with thick bands of color in both horizontal and vertical orientations. Smith manipulates the viscosity of his chosen pigments, creating a dialogue between hues as well as the unpainted ground, with each mark contributing to a larger, shifting field. Together, their practices offer different approaches to abstraction, personal experience, and the possibilities of painting. 

Also featured will be selections from Michael Rakowitz’s ongoing series The Invisible Enemy Should Not Exist. Recreating artifacts destroyed or looted from Iraq and Syria, Rakowitz brings attention to the absent original, transforming acts of reconstruction into gestures of remembrance and cultural preservation. The works consider how cultural memory can endure through material transformation. Similarly, Lucy + Jorge Orta’s Wadi Hanifah Embroidery Landscapes, engage with histories of place and cultural heritage. The series combines botanical specimens native to Wadi Hanifah valley in Saudi Arabia with geometric motifs derived from Al Sadu, the traditional weaving practice of Bedouin women. Bringing together ecological observation, textile traditions, and cultural heritage, the works function as both scientific archive and textile map, reflecting on adaptation, resilience, and environmental change. 

Across painting, sculpture, and mixed media, the artists collectively return to histories, materials, and visual languages, using recurrence to reconsider and transform them.