FLOOR SHOW

Dates: 16th April – 9th May 2026

PV - Thursday 16th April, 6-8.30pm

Featuring Erika Trotzig, Eddie Peake, David Musgrave, Amélie McKee, Laila Majid & Louis Blue Newby, Saba Khan, Jasleen Kaur, Iain Hales, Lucy Gunning, Andrea Gregson, Henry Burns, BAW (Naomi Siderfin & David Crawforth) in the opening exhibition at our new space in Islington. 

FLOOR SHOW has a deceptively simple premise: to exhibit predominantly sculptural work by a selection of established and emerging artists, together on one expanse of floor. 

Much of the work featured in the show has not previously been presented in London, and although many of the artists may already be familiar with each other’s practices, this is a rare opportunity to show their work together.

Each artist in FLOOR SHOW brings a distinct approach to making and display, reflecting the complex materiality and presence of a wide range of contemporary practices. Precarious constructions and delicate interventions share the floor with more robust and practical forms; subtle internal conversations intersect with more outward-facing gestures.

The exhibition invites viewers to navigate a diverse collection of forms and structures, in a space where materials and ideas collide. Overt and intimate connections arise, proximities collapse and re-emerge in a network of relations, and speak of cohabitation, interdependency, similitude, indifference, otherness and play.

FLOOR SHOW offers itself as a survey of possibilities rather than a rationalisation or a captured thought. It is a deliberately inconclusive moment; an opening up of the question of how to place things down onto an often overlooked and always inconsistent surface.

The show comprises fabricated sculptures, found and adapted objects, installation, sound, drawing, painted surfaces and embroidery. The floor in question is on the upper level of a Victorian factory building which has lived a multitude of forgotten and storied lives. Unfortunately there is no lift access.

FLOOR SHOW is first in a programme of exhibitions at EUCA Annex Britannia Row across 2026, throughout which the space will evolve and respond to the exhibited works.

Curated by TC McCormack and Ben Fitton

Supported by The Florence Trust, ADMRC & UAL

EUCA Annex 

35a Britannia Row, Islington, N1 8QH. 

[ tube: Angel / Highbury & Islington ]

Open: Thursday to Saturday - 17th April to 9th May, 12-6pm

*or by appointment 

Artist Bios

Erika Trotzig (born Malmö, Sweden) is a London based artist working in sculpture.

Trotzig’s works are humorous, un-heroic and absurd. Mirroring aspects of architecture the work evolves into space-dividers, obstructions, and fragments. Often anthropomorphic in character they occupy a space between the human and the architectural, presenting tragicomic impressions in their futile struggle to hold themselves together. Trotzig has a BA Fashion (1998) and MA Fine Art (2020) from Central Saint Martins. She was awarded the Gilbert Bayes Award for emerging sculptors from the Royal Society of Sculptors in 2023.

Recent group exhibitions include: ‘A Special Relationship’, Torrance Museum of Art, Los Angeles, USA (2025); ‘And this old world is a new world’, curated by Esmeralda Gomes Galleira, La Bibi Gallery, Palma, Mallorca (2024); ‘By The Means at Hand’, by Vlatka Horvat, Croatian Pavilion, Venice Biennale (2024); ‘A New Dawn, A New Day’, The Bomb Factory Art Foundation, curated by Marcus Nelson (2023). Solo and Duo shows include: ‘Uneven Ground’, Ölands Museum Himmelsberga, Sweden(2025) ; ‘I Tried To Fix It’, The Stone Space, London (2023); ‘Structural Issues’, BOTH Gallery, London (2023);  ‘Techne’, Fold Gallery, London (2023).

Eddie Peake’s artwork often takes the form of immersive  exhibitions in which an examination of self-identity spirals out into an expansive engagement with desire, shame, the body and the city. The work situates itself inside the fourth wall, the liminal space between different worlds, between the viewer and the viewed, the imagined and the real. From here it explores the implicit drama within personal relationships—whether familial, professional, romantic, sexual or social—and how those relationships are acted upon by cultural constructs such as gender and psychological states such as depression. One particular preoccupation is with masculinity: how it may be stretched, and treated critically while holding on to a love for certain aspects of male physicality and feeling. Another is with the lapses and voids inherent to translation between verbal and nonverbal modes of communication: how to inhabit the discrepancies between words and other language—say images, emotions, bodily movements or sounds.

Brightly coloured paintings, smooth gradients blended against hard-edged lines. Polished sculptures made of Jesmonite. Performances involving dancers, actors and musicians, many naked but head-to-toe in body paint. Walled structures with corridors, windows and smashed holes. Sound works composed of digitally manipulated scripted voices. The exhibition is where these elements come together and sing from the same song sheet, sometimes in ways that seem cohesive and inevitable, other times incongruous and surprising. Peake also DJs under a pseudonym and runs a record label called Hymn.

Peake has exhibited extensively in commercial galleries, art fairs, museums, institutions, nonprofit & artist run spaces, biennials and festivals around the world over two decades.

David Musgrave has exhibited drawing, sculpture and moving image works internationally since the late 1990s. His writing has appeared in Art Monthly, Frieze and Whitechapel: Documents of Contemporary Art, and in 2022 his novel Lambda was published by Europa Editions. 

He studied at Wimbledon College of Art (1992-3) and Chelsea College of Art & Design (1994-7). His work could be witty, as in his piece Animal, 1998, included in the Hayward Gallery tour The British Art Show 5, 2000–1. Among solo exhibitions were Duncan Cargill Gallery, 1998; greengrassi, 2001; and Transmission, Glasgow, 2002. In 2003, Musgrave had a one-man show at Arnolfini, Bristol, part of Recognition One, for emerging British Artists. Of his anthropomorphic forms there, it was said that they “tantalise our desire to find the human in what we see.” Also in 2003, Musgrave was featured in the series Art Now at Tate Britain.Lived and worked in London and Surrey.

Amélie Mckee is a visual artist who works across installations, singular objects, and collaborative curatorial projects, with a focus on the conditions set by industrial infrastructures such as electricity grids, Wi-Fi, radio frequencies, and smart technologies. Her research taps into how technologies are fetishized as mystical, impenetrable objects and yet composed of rudimentary materials. Speculative design has a central role her practice Incorporating industrial components like buttons, cables, switches, and metal parts, creating the impression of functional devices, though their purpose remains obscured.

Recent projects include Immaterial Gelatine, Sherbert Green, London (2025); Artist Run Fair, Willie Willie Studio, Brussels (2025); LOG 3: Interceptor, Plicnik Space Initiative, London (2024); Post Facscism, Loods6, Amsterdam (2024); Scrap yard Screenings, Sara’s Worldwide, New York (2023); The Amazing Sex Show, inter.pblc, Copenhagen (2023); Eternal Maze residency, Petrohradská kolektiv, Prague (2023). She holds a MA from RCA CAP: critical practice (2021) and a BA Fine Art from Chelsea College of Art (2018).

Laila Majid & Louis Blue Newby

Laila Majid was born in Abu Dhabi and is based in London. Previous solo exhibitions include Sherbet Green & Harlesden High Street, London, UK (2023); Rose Easton, London, UK (2022). Selected group exhibitions include SET Woolwich, London, UK (2023); Austrian Cultural Forum, London, UK (2022), Paradise Row, London, UK (2022), Ridley Road Project Space, London, UK (2021), Bloomberg New Contemporaries, South London Gallery, London, UK (2021).

Louis Blue Newby was born in London and is based in the same city. Previous solo exhibitions include Soft Opening, London, UK (2023); Xxijra Hii, London, UK (2022); San Mei, London, UK (2022); Transition Two, London, UK (2020); springseason, London, UK (2019). Selected group exhibitions include Shtager&Shch, London, UK (2023); Tanners Hill, London, UK (2023); SET Woolwich, London, UK (2023); Sherbet Green, London, UK (2022); Collective Ending HQ, London, UK (2022); Bloomberg New Contemporaries, South London Gallery, London, UK (2019).

Previous solo exhibitions of the artist duo include CCA Goldsmiths, London (2025), Xxjira Hii takeover at Sadie Coles HQ, London, UK (2023); Xxijra Hi, London, UK (2022); San Mei Gallery, London, UK (2022); springseason, London, UK (2020); Transition Two, London, UK (2019). Selected group exhibitions include General Assembly, London, UK (2024); Kupfer Gallery, London, UK (2023); San Mei Gallery, London, UK (2022); Paradise Row, London, UK (2022). The duo has been awarded with the Circa x Dazed Class (2022), and the OMNI Artist Award (2021).

Iain Hals

Iain Hales lives and works in London. He was the 2013/14 recipient of the ‘Mark Tanner Sculpture Award’. He completed his MFA Sculpture at the Slade School of Fine Art in 2009 and gained a BA in Sculpture from ECA in 2005. 

Iain Hales has been toying with this question for the past fifteen years. Texture, material and colour are central concerns of his practice. In his ongoing attempt to collapse the space between painting and sculpture, he explores the slippage between ‘object’ and ‘image’, three-dimensions and flatness, form and surface.

Primarily working in sculpture (ranging from larger scale installations through to smaller wall-based works), his practice also includes works on paper and photography.

Recent exhibitions include “The Best Leftovers | Subject Platter II” at Corner7, London (solo); “PAINTINGS” at m2 Gallery, London (solo); “Italian Postcard”, Il Bisonte Gallery, Florence; “Thinking is Making”, Crosslane Projects, Kendal; and “The Hidden Horizontal: The Cornice in Art and Architecture” at the Graphische Sammlung ETH Zurich, Switzerland.

Saba Khan’s art practice investigates Pakistan’s watery habitats from the coasts of Sindh to the glaciers of Himalayas. Khan explores how water becomes a tracer of colonial and post-independence histories that enclosed the Indus River for agriculture and hydropower. Muddy water also becomes a medium for seeing modernist disruptions of millennia-old ecosystems and centuries-old human cultures. Against the extraction of water, Khan looks to myths and songs of people for whom the river is as much a natural habitat as it is for the blind river dolphin. Saba Khan’s work in mixed media installations, in which she embarks on expeditions to document the historical and future impacts of dams constructed on the Indus River, which carries water and sediment 3,000 kilometers from the Himalaya Mountains down the coastal Sindh. The artist gathers samples and data as she investigates the conflicted histories, hydrological engineering, and water bodies,including the blind dolphin Bholan, Khawaja Khizr, and water activists, that converge in the tide country. In 2014 founded Murree Museum Artist Residency that continued as a satirical collective ‘Pak Khawateen Painting Club’ from 2019 - 2023.

She recently exhibited at The High Line (solo, 2026), MAC Birmingham (solo, 2026), 18th International Triennial of Textile (2025), Elevation 1049 (2025), Swiss Institute, USA (2024), National Museums of Qatar, Doha (2024), Gangwon Triennial (2024), Sharjah Biennial 15 (2023), Sharjah Art Foundation, UAE (2022), Jameel Art Centre (2022), Paul Mellon Centre (2021), Lahore Biennial 02, Pakistan (2020), COMO Lahore (2019) and Karachi Biennial (2017). She attended residencies at Casa Wabi (2025), Art Explora (2025), Unidee (2024), Delfina Foundation (2023), Onassis AiR (2022), Para Site Hong Kong (2018), Gwangju Biennial (2016), Civitella Ranieri Foundation (2007). She has previously received grants from 421 (2022), Foundation for the Arts Initiative (2018), Sharjah Art Foundation (2020), Graham Foundation (2020), British Council (2020, 2021, 2022).

Jasleen Kaur’s work explores cultural memory and political belonging. She makes with the slurry of life, interested in the social histories contained within the material things that surround us. In her practice, mass-produced, everyday objects are coded with symbols and images, questioning how the narratives we inherit circulate in discreet ways and, in turn, shape us.

Jasleen Kaur (b.1986 Pollokshields, Glasgow) lives and works in London, UK. She is the winner of the 2024 Turner Prize and in 2025, was awarded an Honorary Doctorate by The Glasgow School of Art, and the inaugural Art Explora Art Commission at V&A East, launching in autumn 2026. Solo exhibitions include Boomerang, Hollybush Gardens, London; Was. Is. Will be., a permanent artwork for Thamesmead, London (2025); Alter Altar, Tramway, Glasgow (2023); Flesh ‘n’ Blood, Humber Street Gallery, Hull; Gut Feelings Meri Jaan, Touchstones Rochdale (2021) and Be Like Teflon, Glasgow Women’s Library (2019). In 2026. In 2019 her book Be Like

Teflon was co-published by Glasgow Women’s Library and Dent-De-Leone.

Forthcoming group exhibitions include If the word we, 59th Carnegie International, Carnegie Museum of Art, Pittsburgh; Holy Pop!, Somerset House, London; Drawing Biennial, Drawing Room, London (all 2026). Selected group exhibitions include The Three Legged Cat, 18th Istanbul Biennial, Istanbul; PUSH THE LIMITS 2, Merz Foundation, Turin; Maybe we could both belong, Den Frie, Copenhagen; Lives Less Ordinary, Two Temple Place, London (2025); Imagining Otherwise, Primary, Nottingham; CLASSifications, Aspex, Portsmouth (2024); Not new, otherwise, Build Hollywood, Glasgow; A Tall Order!, Touchstones, Rochdale (2023); My Body is a Temple of Gloom, Wellcome Collection, London (2021)

Andrea Gregson is an artist, curator and Senior Lecturer in Fine Art based in London and Lancashire. She was a Postgraduate Fellow at Academy of Fine Arts, Warsaw, Poland (95-97) and graduated with MA Fine Art, from Manchester Metropolitan University in 1998. She was the Bronze Casting Fellow at CSM, London in 2011 and awarded a Henry Moore Foundation residency at UEL in 2015. She has exhibited widely including Danielle Arnaud, London; Grizedale Gallery, Cumbria; Gaesteatelier Hollufgard, Fyn, Denmark; Romantso, Athens, Greece; Patrick Heide Contemporary Art, London; Concrete, Hayward Gallery, London; Torrance Art Museum, Los Angeles, USA; The Garden Museum, London; Galerie Shuster, Berlin, Germany; Galeria XX1, Warsaw, Poland; Zamek Ujazdowski, Warsaw, Poland. Curatorial projects include Gustav Metzger’s, Facing Extinction Conference & Exhibition, UCA (2014) and Remember Nature (2015/25).

Henry Burns lives and works in SE London. He has recently graduated from the MFA Sculpture programme at the Slade School of Fine Art, London. Previously he attended Chelsea School of Art and Falmouth University. He also works as part of a collective, F.A.F. Burns’ interest lies in DIY and outsider artist building projects. He’s drawn to the necessary resourcefulness and inventiveness required to realise these ventures, such as Sam Rhodia’s Watts Towers in LA. There is an act, adjacent to alchemy, where seemingly worthless material is transformed into something resonant and spectacular. Burns’ own sculptures and installations use second hand material. Pieces evolve through an improvisational approach, responding to the materials and spaces at hand, and they’re iterative; installations are dismantled and rearticulated, with material continually being recycled into new configurations. His work also spans sound, film and photography. 

BAW ( Naomi Siderfin & David Crawforth )

BAW is the moniker for Siderfin and Crawforth in collaboration as Beaconsfield Art Works. Over and above their work as curators of the artist-led space Beaconsfield, the founding directors have maintained a collaborative visual arts practice making numerous critical interventions in exhibitions and  public spaces since 1994, including the UNESCO World Heritage rock art site on Altafjord and a Stavanger derrick in the oil capital of Norway, Helsinki's iconic Central Station and London's Tate Britain and Southbank Centre.