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Under Conditions/No guarantees Collective
Both Gallery, Highgate
Participating Artists
Chema Palacios, Donna Marie  Poingdestre, Jojo Taylor, Nimisha Chandel, Shraddha Bhargava 
Preview: 23 April 6-8PM
Open Friday–Sunday, 12–4PM
24th April - 3rd May
This exhibition brings together Year One Professional Doctorate students from the University of East London.
Working without fixed outcomes, the exhibition unfolds as a set of live conditions rather than a resolved display. Processes remain visible, decisions provisional, and forms subject to change. What is shown may shift. What is held may not hold.
Across the duration of the exhibition, the gallery becomes a site of exposure—of time, of labour, of uncertainty. Presence is sustained, interrupted, tested.
There are no stable agreements here.
Only what can be carried, for now.
Chema Palacios (Mexico City 1987) leads a research-based artistic practice focused on the intertwining of visual theory, philosophy of technology and material experimentation.  The explorations of these areas of knowledge is carried out through the collection and processing of images from diverse origins, from official archives to the subjective registry of everyday life, trough generative models. These images, then, are used to composed poetic devices in the form of books, films and installations.
Terminus is an exploration of the concept of limit in a triple sense: as spatial border that defines a particular entity, a braking point that leads to transformation and the political act of historical definition.
Jojo is an artist working with voice, film, sound and performance.  Her practice operates through the figure of the venatrix, attuning to presence, absence and what remains unseen. Through intuitive, site responsive processes, she creates situations that invite encounter and exchange, often disrupting the everyday to foreground shifts in perception and attention.
One Hundred Acts of Trust explores vulnerability through performative actions, including inhabiting the gallery window, as well as working with sound and film. These works generate moments of connection and unpredictability,  where trust and emotional responses emerge through sensory experience,  engaging affect as it circulates between bodies, space and encounter.
Nimisha's practice is continuously shaped by the connection between the body, nature, materials, and the myths we inherit and invent, especially as a woman. Growing up in India and spending her last six years in Shantiniketan, a university based within a forest, made her aware of her connections and rhythms with the natural world.
Her practice exists between the spaces where her lived experiences meet cultural memories. She is constantly negotiating to create works that allow females to co-exist with nature, with freedom, and vice versa. Where she looks beyond the universal archetypes surrounding the two entities, moving beyond, creating new myths.
She works extensively with natural mediums, extracting her own charcoal, making paper from natural materials, like banana pulp, forest waste, etc. Her body of works encapsulates new materialism, which holds to bring forward the materials she uses as active agents; they themselves hold and carry memories and meanings.
Look at me I,
Charcoal, butter paper, graphite on Nepali paper, 18 x 25 inches, 2026
Donna Poingdestre’s practice-led doctoral research explores how painting can hold memory, absence and grief without resolving them into fixed images. Working with found photographs and embodied mark-making, she uses repetition, delay and restraint to allow forms to emerge and dissolve. Her approach resists narrative closure, keeping the work in a state of uncertainty and becoming. Painting here is not a finished statement but a process of attending—where presence is felt rather than defined, and what cannot be fully known or recovered is allowed to remain.
Shraddha Bhargava is a lens‑based artist whose work investigates how we perceive and understand visual and spatial systems in our surroundings. Using photography and image-based practices as methods of inquiry, she examines the relationship between natural and digital domains, exploring geometrical connections, patterns in nature, and forms of colour. Drawing from computational systems and mediated contexts, her practice navigates the boundaries between form and formlessness, and between human observation and systematic interpretation. Inspired by curiosity and sustained research, she creates images that open dialogues between viewer, subject, and context, integrating conceptual discipline with visual experimentation to expand our understanding of present-day visual culture.
Parallel Ecologies places the natural and digital domains in dialogue, exploring the interplay of colour, form, and structure in both environments. The work examines the balance between form and formlessness, revealing patterns, rhythms, and relationships that connect seemingly separate systems. Inspired by curiosity boxes, it invites viewers to observe, reflect, and explore, creating a space where art and digital mediation intersect. Through this dialogue, the images become a meditation on perception, discovery, and the ways meaning emerges across organic and constructed environments.

Shraddha Bhargava

Parallel Ecologies

Shraddha Bhargava

Parallel Ecologies

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