From Sunday 4 May to Sunday 18 May 2025, access to parts of the Alison Watt: From Light exhibition will be limited. The manor will remain open, but the gallery will be closed. During this time, special admission prices apply: £8 Standard / £4 Students. Visitors can explore the manor, see J’Accuse…! Sculptures by Nicole Farhi, and enjoy Alison Watt’s work in Soane’s historic home.
Please note that during this period there will be no accessible toilet available at Pitzhanger. The nearest accessible toilet is located at Ealing Broadway Shopping Centre, just a 5-minute walk away. We apologise for any inconvenience this may cause.
Keep your ticket — it can be stamped at the front desk to allow you to return and enjoy the full Alison Watt: From Light exhibition from Wednesday 21 May 2025 at no extra cost. Learn more
This Autumn, Pitzhanger Manor & Gallery proudly unveils an emotionally resonant exhibition featuring the works of British contemporary artists and life partners, Idris Khan and Annie Morris. Imbued with themes of emotion, time, and memory, the exhibition engages in a poignant dialogue with the Manor’s neo-classical architecture, designed by Sir John Soane.
Showcasing over thirty works that seamlessly traverse the Gallery and historic Manor, the exhibit encapsulates a diverse range of art forms from sculpture and photography to painting and embroidery. Morris’ arresting Stack sculptures stand as a vivid testament to personal loss and the resilience of the human spirit, each irregularly shaped sphere bursting with colour. Khan’s works, such as My Mother (2015), delve into the intricacies of cultural memory and personal history through abstract forms.
What sets the exhibition apart is the synchronicity between the artists. Morris’ vibrant use of colour has nudged Khan towards a more diversified palette, revealing the subtle but influential ways their individual practices converge and inspire one another.
“Beautiful and mesmerising to look at, with a powerful emotional core.”
The exhibition features a thoughtfully integrated experience with Morris’ bespoke armchairs and bed linens furnishing Soane’s upper drawing room and bedroom, while Khan’s vinyl overlays adorn the Manor’s conservatory windows. This modern infusion into Soane’s domestic spaces beautifully complements his vision of the Manor as a sanctuary of familial and architectural harmony, even as it acknowledges the layers of love, loss, and estrangement that pervade its history.
At its core, the exhibition explores the timeless connection between contemporary and neo-classical art, enriching our understanding of the complexities that bind memory, emotion, and creative expression.
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