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  • Stark Realism – Effie Pryer | Francien Krieg | Ville Löppönen

    Stark Realism is an exhibition of new paintings by Francien Krieg, Effie Pryer and Ville Löppönen. Each of these artists uses realism to explore the substance and mystery of being human. Krieg’s elderly nudes offer an unflinching but compassionate look at the effects of aging on women’s bodies and ask the viewer to consider the spirit within. Pryer’s portraits are inspired by her interest in mythologies of the world and the themes that resonate throughout human experience. And Löppönen uses religious iconography to depict our internal struggles.

    OPENING NIGHT: Saturday, April 8 from 6-9pm. Free Entry.

    Exhibition runs from April 9 to April 30.

    Join our email list for early ONLINE PREVIEW.

    CONTACT US for sales enquiries

    Free entry and complimentary wine available at the opening. For those wanting a non-alcoholic option, we will also have drinks provided by Remedy Kombucha.

    Francien Krieg finishing a couple of paintings for Stark Realism

    Francien Krieg (The Netherlands) lives and works in The Hague. Krieg paints older women as beautifully complete nudes. She acknowledges the marks time has made upon the physical body and focuses our attention to a place where physical and spiritual beauty intersect. Imagining a world in which societal pressures lift and current narratives around physicality and the female body broaden. When viewing Francien’s nudes it is hard not to feel moved by their unflinching realism and stark depiction of female beauty.

    As Alan Katz explains, “It is somewhat predictable that Krieg has suffered negative reactions to her work, as on the surface one might think she was portraying elderly women without respect. But Krieg is really commenting on beauty in much the same way as Sam Peckinpah was commenting on violence through his movies. Man’s ideal view of young female beauty does get shattered with age, but something else takes place of more importance…the realisation that once “idealized” beauty is gone, the innate beauty of spirit has the potential to create an outer beauty with a greater depth. Krieg’s personal vision is consistent and committed. She expresses herself through her art in ways that give her a unique point of view on the human condition.”

    Ville Löppönen finishing a painting for Stark Realism

    Ville Löppönen (Finland) graduated from the Department of Painting at the Finnish Academy of Fine Arts in 2007. Graphic novels and popular imagery meet the classical painting tradition in Löppönen’s skillful, photorealistic, figurative painting. In recent years, his art has also been strongly influenced by Western Church art and by the Eastern tradition of icon painting. Löppönen is also a notable contemporary portrait painter. His imagery deals with the healing nature of suffering and the human struggle with the self and its contradictions. He is also concerned with the conflict between religious service and ego-based artistic creation. Löppönen sees his art as being theological contemporary art. The painting process itself is an act of spiritual reflection or prayer.

    effie pryer

    Tiny 10 x 15cm (3.9″ x 5.9″) oil painting by Effie Pryer for Stark Realism

    Effie Pryer (Australia) is a Tasmanian painter who studied arts and fine arts at UTAS and completed a master’s degree in cultural material conservation at the University of Melbourne in 2013. Her paintings draw on the narratives and imagery she has encountered studying ancient and traditional mythologies from around the world. She is particularly interested in the unchanging nature of human angsts and desires across cultures and millennia. With a focus on employing native flora and fauna in her imagery and materials, Pryer uses traditional oil painting techniques on exposed timber surfaces to incorporate the timber’s natural beauty into the imagery and layers of narrative.

    WHERE: beinArt Gallery | 1 Sparta Place | Brunswick | VIC 3056 | Australia

    PHONE: +61 3 9939 3681

  • Daniel Dela Cruz

    Preview Online: To End An Echo – Jon Jaylo solo exhibition and a guest curated group show

    The preview for To End An Echo and If Our Own Words Fail Us is now online! To End An Echo is a solo exhibition of new paintings by Jon Jaylo and If Our Own Words Fail Us is a group exhibition curated by Jon Jaylo featuring works by Linnea Strid, Olan Ventura, Daniel dela Cruz, Rain Delmar, Welbart, Rodrigo Cifuentes, Henry Royales, Ross Jaylo and Fernan Odang. OPENING NIGHT: Saturday, March 11 from 6-9pm. Free Entry. Jon Jaylo will be in attendance. Exhibition runs from March 12 to April 2.

  • Jon Jaylo Flyer

    To End An Echo – Jon Jaylo solo exhibition and a guest curated group show

    Jon Jaylo Flyer

    beinArt Gallery presents To End An Echo – a solo exhibition of new paintings by Jon Jaylo and If Our Own Words Fail Us – a group exhibition curated by Jon Jaylo featuring works by Linnea Strid, Olan Ventura, Daniel dela Cruz, Rain Delmar, Welbart, Rodrigo Cifuentes, Henry Royales, Ross Jaylo and Fernan Odang.

    OPENING NIGHT: Saturday, March 11 from 6-9pm. Free Entry. Jon Jaylo will be in attendance.

    Exhibition runs from March 12 to April 2.


    CONTACT US for sales enquiries

    Jon Jaylo (Philippines/USA)

    Jon studied fine arts at college in the Philippines before he began his career as a painter in earnest. As Jon spent more time trying to find his own identity in the world of art, he saw himself veering towards surrealism. He fell in love with the symbolism and how illogical it could look at first glance. Jon’s works, though whimsical and full of symbolism, are infused with real stories from his own experiences. The narratives in Jon’s work provide type of therapy for him. As someone who struggles to express himself through words, Jon feels incredibly fortunate to have found a voice through his art. He aims to leave the viewer with a sense of having learned or experienced something positive. An inspiring lesson. A connection. Or, for his work to act as a catalyst. To spark an idea in the viewer that could potentially change the course of a life. Art is a universal language and Jon believes it does not discriminate, but instead it connects us all.

    Jon first exhibited his paintings in his home country, the Philippines. As word of his works spread and demand grew, he found himself invited to exhibit in Singapore, South Korea, Germany, Italy, Switzerland the United States and now Australia. Jon has exhibited in both private galleries and museums. His works are so sought after that they have been auctioned in Sotheby’s and Christies in Hong Kong and Singapore. Jon continues to exhibit worldwide and looks forward to a second museum show in 2017.

    Sneak Peek: “Trudging Through Life’s Labyrinth” – Watercolor painting by Jon Jaylo

    To End An Echo

    “To End An Echo explores self-illumination. Enlightenment and self reformation is one of the hardest things to achieve. I believe it is in human nature to be defensive about our mistakes. We feel shame and may attempt to cover up our short-comings or deny them outright. But, I believe that to attain wisdom you must acknowledge your failures first, honestly and without shame. Only then can we learn, change and reform. So, the questions I explored while creating these works address the values of our generation. What do honesty and compassion look like now? Do we value deep personal growth anymore?

    We are constantly bombarded with television, music and social media. I find it alarming that there seems to be no platform for self improvement and instead a focus on the superficial. Instant gratification, popularity and fame seem to be the new ‘teachers’ and without proper guidance I worry that younger generations will learn that seeking out trouble for attention is the only way to get noticed and elevate themselves above their peers. Is this where are we headed? Is this the end goal? And how can we find deeper meaning and purpose?

    To End An Echo is about owning your mistakes and having the courage to shine a light on them. To change for the better. It is a show about reclaiming your self, taking control again and walking forward on the path of personal and spiritual evolution.” – Jon Jaylo

    rodrigo cifuentes

    Work in progress by Rodrigo Cifuentes

    If Our Own Words Fail Us

    If Our Own Words Fail Us brings together nine international artists, many of whom are exhibiting in Australia for the first time. Jon Jaylo has carefully curated these pieces to be viewed alongside his solo show and believes that each of these artists have created pieces that are illuminating and extraordinary both in vision and technique. Participating artists are Linnea Strid, Olan Ventura, Daniel Dela Cruz, Rain Delmar, Welbart, Rodrigo Cifuentes, Henry Royales, Ross Jaylo and Fernan Odang Jr.

    Daniel Dela Cruz

    “Adrift in Dreams” – Mixed metal sculpture by Daniel Dela Cruz

    About our charitable donation

    Jon has always actively sought out art shows for charities or exhibitions which contributed to a cause. Jon states, “I choose to be a person that helps others through my artworks. I don’t want to keep the benefits of my achievements to myself, I want to share them. Not everyone is given the opportunity to be in a position where they can do something that will impact the lives of other people, so sharing is really important for me.”

    Jon Jaylo and beinArt Gallery are honoured to contribute 10% from each of Jon’s artworks purchased to three families supporting children with cancer. More information to be announced shortly.

    WHERE: beinArt Gallery | 1 Sparta Place | Brunswick | VIC 3056 | Australia

    PHONE: +61 3 9939 3681

  • Zdzisław Beksiński – “From The Inside” – A Feature-Length Documentary


    “…none of the already published recordings show us Beksiński while painting – we have that on record! I think such fragments may be very interesting for other artists who are inspired by the work of Beksiński, by his technique. However, tapes contain a lot of ordinary daily life of the Beksiński family, too. They were normal, cheerful people who lived in really hard times and struggled with normal problems. Beksiński, as a man ahead of his time, decided to record it all – nobody had ever done that before in Poland.”

    Beksinski portait

    The works of Polish artist Zdzisław Beksiński are renowned for their haunting surrealism. Presenting dusty dystopian landscapes, sparsely populated by gaunt and imposing figures.  Beksiński’s work has inspired countless artists and informed creative directions in film, music and photography. Despite his enormous influence, there has never been much of a window into the life of the man himself. Kamil Śliwiński is hoping to change that. He is one of the driving forces behind a crowdfunding campaign aimed at raising enough funds to make a feature length documentary on Zdzisław Beksiński and his life. This documentary will build and expand upon the only previous film on Beksiński, “The Last Family”, accessing over three hundred hours of footage shot by Beksiński and his immediate family as well as interviews with family, friends and colleagues.

    This extraordinary campaign has the support of Beksiński’s family, the Beksiński Foundation as well as the Polish Film Institute.


    CL: How did you discover Beksinski and his work?

    KS:  I discovered the works of Zdzisław Beksiński many years ago in high school – somewhere on the internet – like most young people here. Poland had then only one permanent exhibition of his paintings in Sanok, a small city located quite far from the center where I live. Nobody organized his exhibitions in other cities, so the internet was all we had. I knew some surreal artists quite well, and was still discovering the works of other great Masters, but nothing delighted me so much as the art of Beksiński. A few years later, in 2014, my passion for this extraordinary man and his work revived. It was then that I decided to create a Facebook page where, in contrast to many other pages existing, I wanted to present the artist’s work in the best available quality, share his thoughts, inform people about events and discover unknown works. Previously there was no such place on the social networks and I thought there should be as this is where people often search for information. Within three years, I created the most popular pages dedicated to Beksiński in Poland, without any paid promotion, only hard work. For several months now I’ve been working together with the Beksiński Foundation, which promotes the artist’s heritage here in Poland. Everything I do now is also approved by the only the heir of the artist – The Historical Museum in Sanok.

    Beksinski 3

    CL: What do you believe makes a good story? And what is it about this documentary that you believe will draw people in?

    KS: Interest in the works, but also in the life, philosophy and wisdom of Beksiński, is constantly growing. In the last year there have been published diaries of the artist, a great album with his work, and we also had a very popular movie inspired by the story of the Beksiński family. Unfortunately, I believe it did not quite accurately show the truth, although it was certainly very good technically. I do know well the story of the Mr Beksiński and his family, I know many of his relatives, friends… And frankly I don’t believe this film represented them as they really were. This caused a bit of controversy in Poland. But it seems to me that a similar problem is faced by every film inspired by real stories- it’s difficult to show, in two hours, such an unusual personality like Beksiński. This is why I believe that the documentary created from the original artist’s tapes, recorded by Beksiński himself during nearly 10 years of life in Warsaw, will let us look at him and his family from the good and real side – From the Inside.

    Beksinski 4

    CL: The amount of footage you have to work with is quite extraordinary and I imagine, will give the viewer a very personal insight into the artist and his work. Was there anything in the footage that you found surprising? Or enlightening?

    KS: There are so many recordings! For example, none of the already published recordings show us Beksiński while painting – we have that on record! I think such fragments may be very interesting for other artists who are inspired by the work of Beksiński, by his technique. However, tapes contain a lot of ordinary daily life of the Beksiński family, too. They were normal, cheerful people who lived in really hard times and struggled with normal problems. Beksiński, as a man ahead of his time, decided to record it all – nobody had ever done that before in Poland. It is also worth mentioning that the artist’s son, Tomasz, was also a very well known person in Poland – a recognized radio presenter, who shaped the musical tastes of thousands of Poles in those “gray days” of the 80s and 90s. They both shared a passion for music and film and on the tapes are plenty of interesting discussions about current trends!


    CL: What makes you want to tell this story and share it with the world?

    KS: I think this is something that deserves to be shown, especially now when people talk about Beksiński more often here in Poland, and also all over the world, and not always aware of the truth of his extraordinary life and genius. In my opinion, this is the best time to show the world that Beksinski was not only a genius painter but also really brilliant man who lived in his own way, and invented himself in any possible field that he chose.

    CL: How well recognised is Beksinski and his work in Poland, his home country?

    KS: Currently Beksiński is one of “the hottest” names among the fans of art, in particular the young and open-minded people. This is also due to the film. But earlier it was not so cool, you know, Beksiński didn’t like the artistic community so much. He didn’t organize his exhibitions, he was a loner who preferred to spend time creating and being with family rather than entertaining the press and media – the critics hated him for it. For many years, I think as revenge for such an approach, he was often overlooked in major publications and events. His works were described by some of critics as kitsch. I believe it was very unfair.

    Beksinski 5

    CL: What do you hope to do with this film when it is complete? And how wide an audience do you hope it will reach?

    KS: The first version of the film – a 44-minute documentary – had its only public screening a few years back in Beksiński’s hometown Sanok, and was seen by only a few people. Since this time many fans still ask about it. So, the filmmakers decided to gather additional funds to complete the work and make the film available to a wider audience, both in small cinemas, TV and on the internet. Months passed and there was nobody seemed willing to support this idea. Until finally, the first institution to trust this project was the Polish Film Institute that decided to grant a subsidy to assist in making a feature-length documentary about the Beksiński family. Still, the amount granted was not sufficient to close the budget and that’s when the makers of the film decided to turn to the artist’s fans in Poland and around the world. This coincided with the onset of my collaboration with Beksiński Foundation. After a few meetings and discussing various options we decided to launch a crowdfunding campaign. Taking into consideration the fact that a feature film about the Beksiński family has already been watched by millions of Poles, and with a lot of people around the world still waiting to see it, I truly hope the interest in our documentary will be very high. I hope so!

    To contribute to this incredible campaign please go here:

  • kit king painting

    Interview: Kit King

    kit king artist

    Kit King in her studio surrounded by pieces for “Dimensional Analogue” 2016

    The work of Canada-based artist Kit King is a study in contrasts: not merely the dark and light of her black and white pieces but also the contrasts between intimate and impersonal, hardness and vulnerability, openness and the state of being bound. There is balance yet tension. And it is the viewer who is invited, perhaps compelled, to resolve that tension—or decide to merely appreciate the question a particular piece may ask.

    “Art helps me feel less alone. I can find solace in the solitude when I’m creating. Through art I am able to connect with my fellow man all over the globe. I can paint pieces and scatter them across the earth and fill this place with little pieces of myself.” —Kit King

    kit king

    Kit King with her oil painting titled “Apply As Needed”

    Julie Winters: You’ve been creating art since childhood, yet you’ve not had formal art schooling. What drew you to hyperrealism?

    Kit King: When I was younger I saw the realism my parents could do and was always so impressed with it. I wanted to achieve the same level of realism—only the more I grew with it, the more flaws I saw in my work, and the more details I began to notice. I became a little obsessed with trying to render every tiny detail I saw. I didn’t even know hyperrealism was a thing. The more I created, the more I fell in love with it, and the more obsessed I became. Have you ever fallen for someone so completely that you could sit there for hours just combing every detail of their face? Looking and finding the tiniest scars and wondering how they got it? Or wonder if they were ever insecure about the “imperfections” that you find so beautiful about them? I suppose that’s me with my work. Entranced, in love and obsessed. Hyperrealism has a certain intimacy about it that I find so alluring.

    kit king painting

    Untitled – Oil, acrylic and pastel on 24” birch panel by Kit King

    JW: Do you derive more inspiration from concepts or emotions or from things you see?

    KK: I would say I’m highly emotionally driven—it’s why I create in the first place. I tend to pour too much of myself in my art. If a concept is pulling me, it’s because of the emotion fueling that concept. Many of my more recent works have begun conceptually, but it’s never a concept devoid of emotion.

    kit king oda raw

    “Raw” – Collaborative oil painting by Kit King & Oda

    JW: What is your greatest satisfaction in creating?

    KK: The escape it provides. Art has saved me. I’ve always been an outsider and turned to art to purge intense emotions I didn’t know how to express to others. When my social anxiety and agoraphobia came about, I didn’t know what to do but create. I just painted the days away as a means to get through them. I struggled a great deal with suicidal tendencies and as long as I was creating, I was okay.

    kit king

    “Dimensional Analogue” – Oil painting by Kit King

    JW: You are known for your paintings and drawings, but your website does have examples of your photography work as well. What, if anything, does photography bring you that painting and drawing do not, and what do painting and drawing bring you that photography does not?

    KK: I was never into photography much but want to explore every creative medium I can. I honestly wasn’t expecting to love it as much as I do. The best thing about photography is it allows me to explore so much more, since I’m not spending weeks creating one single image. I’ve had some health struggles, and photography allows me to still be creative when my mind and body aren’t up to the strains of drawing and painting. My first few years doing this full time, I was working 16-hour days 7 days a week and did some damage to my neck, spine and wrists. I can’t paint the crazy hours I used to, but I sill long for those hours to be spent creatively.

    I loathe the technological aspect of photography though—I’m seriously bad with technology and prefer hands-on raw materials of oils, carbon and clay. There’s so much I have to learn with photography that I struggle with, whereas with drawing and painting, there was never any struggle: it all evolved so naturally for me. So photography feels more like work, but I am loving the learning curve and newness of it. There’s something inherently different about photography than any other medium. There’s a truth to it, and I’m really intrigued by that. With drawing and painting, even hyperrealistically, it’s always my interpretation of an image, whereas photography will always be exactly that…a moment captured as it is. Yes, as the photographer you can control the image mood and feel, but there’s an honesty in what is seen there versus what I choose to see in a painting. Even my own paintings referenced from my photography are never the exact same: when I paint, I’m never thinking of matching the likeness but rather focused on certain aspects of that image, and when I’m taking a photo I’m more focused on aesthetics and content. My state of mind changes for each. Paintings equal “how does this make me feel?” Photography equals “is it visually appealing? Does it have importance?”

    I’m still so new to photography but certainly want to explore it more, as art has taken on new meaning for me, outside of just being my personal escape. Now art has become more about what I can bring to this world to make it a better place, and photography is a perfect medium for me to explore and express this.

    kit king photography

    “Searching For A Connection” – Photo by Kit King

    JW: You’ve mentioned having experienced agoraphobia. What effects, if any, has the agoraphobia had on your art?

    KK: To be honest, I don’t think I even would have become an artist if it hadn’t been for this crippling anxiety. I never once considered art a viable career path. Agoraphobia sort of nudged me on this path though.

    Agoraphobia is incredibly isolating and emotionally heavy. When you carry these excess emotions, you need a place to unload them and try to make sense of them and the situation you’ve come to find yourself in. Art is perfect for this. My world suddenly became so small. These walls were now all I knew. But with art, I could go anywhere. Be anyone. Art helps me feel less alone. I can find solace in the solitude when I’m creating. Through art I am able to connect with my fellow man all over the globe. I can paint pieces and scatter them across the earth and fill this place with little pieces of myself. I can reach out to others and share intimate parts of my soul through my art. It can be difficult to express the pain you deal with when struggling with such an intense anxiety like this, but art allows me to say the words that are heavy on my heart that my voice cannot. Simply put, agoraphobia birthed the pain that fuels my art.

    kit king

    Kit King working on a massive drawing titled “Uninhibited”

    JW: Bodies, and body image, are featured prominently as subject matter in your pieces. What do you most hope that viewers will carry from your work?

    KK: I just want people to never feel alone or ashamed. These are such horrible feelings unnecessarily pushed on us more and more with the direction this world is going. I’m an outsider looking in on this world, and I can see it’s not meant to be like this; humanity is headed down a terrible road, and I have a hard time just standing idly by watching it all unravel. I just want to be a teeny glimmer of hope in someone’s day, and art is the best way I know how to do this. In a world where we are constantly told we are not good enough, I want people to hear my voice saying, “yes, you are.”

    kit king nude

    Studio photo of Kit King with her painting “In Flux”

    JW: In addition to your work as an individual artist, you have created a painting partnership with your husband, Oda. How has this partnership evolved?

    KK: My husband moved from America where he was a tattooer, to be with me here in Canada. He always wanted to be an artist, and so I showed him everything I had taught myself, to help him pursue his dream. This was two years ago now. We actually fell in love before we ever met while discussing a collaboration we wanted to do. When we did that first collaboration, we knew in that moment we wanted to spend our lives with one another. It was an immediate connection like I had never seen. I don’t work well with people at all, but it was just magic with him. Our hands just danced together on the canvas, and we were so in tune with one another we didn’t need to communicate much. The biggest struggle now is that he no longer needs my help to paint, and since having him in my life, I no longer need painting to quell my pain (since he does a great job of that), and so we have evolved to have two separate artistic voices now. He really wants to focus on the meditative practices of the creative field and content linked to our earth, where my work now is high energy/emotion/anything but meditative, and focused on pain and human struggles and exploring sexuality. So there’s a dichotomy with the energy there. We had met because we actually drew the exact same thing and I thought he was ripping me off (until I saw the time stamp and that he had done his first), so back then we were right on the same page as far as what to paint; it wasn’t a convergence of our ideas, but more just the exact same idea (hah). We’ve taken a step back from the collaborative work while we both explore our new directions a bit, so we can see how they can naturally come together rather than forcing something there.

    kit king oda

    “Hyperaemia” – Collaborative oil painting by Kit King & Oda

    JW: What might our readers be most surprised to learn about you as an artist?

    KK: That I never wanted to become an artist. I was an honor roll kid that flunked art—the only class I have ever failed. I tried to take an art class in high school, but I flunked it for not showing up. Turns out I had zero interest in “learning” art. I never cared to study art at all, so I am completely out of the art loop.

    When I was a kid I wanted to be a marine biologist, then in high school a judge; then I wanted to become a medical geneticist in my early adult years, but the anxiety threw a wrench in that. I’m more into science than I am art. I can’t even make my way through an art tutorial on YouTube or a DVD. (I tried to watch one with Oda once and it was painful!) I just don’t believe in “teaching” art. It’s one of the only free things we have on this earth. I think the institutionalization of art has clouded so much of art’s essence and purity. When you’re a kid you create for the joy it brings you. You don’t care about coloring in the lines until someone tells you to stay in those lines…I have no interest in that.

    Kit King & Oda censoring a collaborative paintings for the Facebook nipple police. This piece was shown at beinArt Gallery in 2016.

    JW: What excites you about the work of other artists? Are there particular artists whose work you find inspiring?

    KK: Since I’m so new to the art world, every day I discover a badass new artist out there, and it’s too hard to say just a few names. But I’m inspired by any artist who uses their work to challenge the status quo. Art that’s more than just a pretty picture—art with guts—that’s what inspires me. I like the artists that don’t paint things that will sell fast because they look nice and are playing it safe. I like the creators that show the ugly truths no one wants to speak about. That level of bravery inspires.

    Kit King - Eat A Dick

    Kit King working on her piece “Eat & Dick” the for “Flesh & Bone” show at beinArt Gallery (2017)

    JW: Is there anything you’d like to tell our readers about what you’re working on now or what you have lined up for 2017?

    KK: I have a couple solo shows coming up in San Francisco and Montreal, some art fairs and more global group exhibits. You can find it all on my website,

    Expect to see more experimenting and evolution. No matter how hard I try to stick to one theme or style for a cohesive body of work that makes for a pretty portfolio, I can’t help but be pulled to examine a multitude of mediums and ideas, so I’ve sort of given up on that notion of a clean tailored gallery…so get ready for some messy, explorative honesty.

    Kit King

    “Dichotomize” – self portrait with graphite & charcoal on paper by Kit King

  • Shadow Preview Tomasz Alen Kopera

    Preview Online: Shadow – Tomasz Alen Kopera | Sandra Yagi | Matthew Levin | Karl Persson

    The preview for Shadow is now online! Shadow is an exhibition of new paintings & sculptures featuring Sandra Yagi’s conjoined fetal skeletons, Tomasz Alen Kopera’s ominous portraits, Matthew Levin’s contorted figures & Karl Persson’s dark erotica.

    OPENING NIGHT: Saturday, February 11 from 6-9pm. Free Entry.

    Exhibition runs from February 12 to March 5.