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'Aftershocks' by Olga Sabko
'Aftershocks follow the main earthquake, waves echoing through the earth and repeating the memory of the event. I experienced it once in Nepal, ten years ago. Only now do I understand that the word describes something larger, a resonance that returns from afar, measured not in seconds or years, but across a human life. Everything I do feels like my own aftershock. At times it is forceful, rising from beneath the surface; at others, it is subtle, like ripples across water or a faint stirring of air. These are ambiguous matters. The waves take different forms, yet they are always concerned with movement, rhythm, pulsation, and, above all, transmission.' -Olga Sabko
Lane Gallery presents 'Aftershocks', a solo exhibition by Olga Sabko, on view from 6 to 16 November 2025 at 31 Saint George Street, London. The exhibition brings together new works from the Black Cloud and Ambiguous series.
Sabko's practice centres on the physicality of time and the traces it leaves within matter. Working across sculpture, lithography, and linocut, she allows process to define the structure. Each work evolves through contact and duration, carrying the imprint of its making as a quiet record of movement and change. Her approach is intuitive and experimental, guided by an ongoing dialogue between material and gesture. The forms that emerge appear momentary, as if caught in transition. This state of incompletion, where the medium continues to speak, gives the work its rhythm, an echo of time moving through substance.
Born in Kyiv in 1990 and now based in Paris, Olga Sabko continues to develop a visual language grounded in impermanence and transformation. Aftershocks extends this exploration, tracing the persistence of motion and memory through matter.
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'A Fast, Bright Dust' by Richard Höglund
October 8 - October 19 2025
Lane Gallery presents 'A Fast, Bright Dust', a solo exhibition by Richard Höglund on view at 31 St George Street, London, from October 8 to October 19.
The title of the exhibition is derived from a text by Anne Carson on Mimnermos, whose fragmentary writings she translates with luminous precision. 'What streams out of Mimnermos' suns are the laws that attach us to all luminous things,' she writes. Höglund found resonance in this idea while exploring theories of sunlight as a carrier of information, and these reflections, entwined with his fascination with the Egyptian god Aton, provided the conceptual foundation for the works in this series.
Each work features linear elements drawn in pure gold over quiet, spectral fields. Höglund describes his process: "The colour, reminiscent of light spectra visible from the window of an airplane over the Arctic North, is made by confronting my usual palette for primary colours-lapis lazuli, cinnabar, and Naples yellow-with titanium white, which pushes these historical pigments into new territory."
Born in 1982 in Sumter, South Carolina, Richard Höglund has developed a research-driven practice rooted in drawing, which he regards as the most immediate articulation of thought before it becomes language. Educated in Boston and Strasbourg, his work is layered with literary, historical, and philosophical references, and often realised through unconventional materials such as marble dust, pulverised bone, shells, and precious metals. These materials, transformed by Höglund's hand, serve as conduits for meditations on memory, light, and permanence.
