This theme's heart is the idea that dialogue—spoken, unspoken, visual, sonic, spatial—is never static. Conversations evolve, shift, repeat, and ripple across time, space, and media. These exchanges are the foundation of artistic expression, whether between individuals, across communities, or within the language of materials and disciplines.
We're looking for work that explores art as dialogue—art that responds, reframes, or reverberates. How does your work speak to or with its environment, its audience, or other works? How does it inhabit a conversation rather than a monologue?...
Artist: Sean Bw Parker
https://www.singulart.com/en/artist/sean-bw-parker-68346?show_popin=subscribe,
The Execution of Holofernes (2025)
Description: Portrait impression of the biblical story of Judith, previously interpreted by Caravaggio, Klimt and many others. Conversation-wise, a possible reflection of 'cancel culture' and the risks of high-profile people speaking their minds, and the consequences of that.
Artist: Hugo Fitch
The Women.
Description: I have painted various works on the plight of women and girls subjected to the demands of a particular misogynist doctrine.
Artist: Abigail Aaron
@abigailaaronphotography Facebook - @abigailaaronart
Bench. Description: An ordinary object that becomes extraordinary through its quiet role as a communal point of gathering. By documenting the people who sit there over time, Abigail highlights how shared spaces, no matter how small or mundane, can serve as meaningful connectors between individuals. The project invites viewers to consider how familiar objects and places shape human interaction, memory, and belonging.
Artist: Sigurd Kraus
www.saatchiart.com/distel
Last Supper II
Description: This is a contemporary take of the Last Supper. It is spiritual but not in a religious way. Tensions but also affections are reflected in the figures portrayed. Each of them is relating in one way to the other with the main figure at the top of the table but interacting simultaneously with the other characters. There’s silence with some or conflict between others.
Artist: Libby Carpenter
https://libbycarpenter.wixsite.com/libby-carpenter
If the house is not okay, then I'm not okay
Description: If the House is not Okay, Then I’m not Okay (2025) is about her and the stresses and overwhelming feeling she gets from the domestic, specifically the list of chores and mental load she takes on. She reflects on gender roles and the chore-gap to fuel her work. She drew upon past experiences where she had to act as a motherly or maternal figure in her relationships instead of them being a shared division of labour.
Artist: Jenna Fox
This installation is a conversation between the artist and the burden of opioid abuse on the family. The purple poppies the colour of death, hang ominously above the artist—a cloud of doom.
@jennafoxartist
Artist: Alexander Johnson
www.alexander-johnson.com
PEACE CONFERENCE
Description: A riff on Leonardo’s Last Supper fresco replacing Christ with a female protagonist who represents world peace. I wanted to subvert the original religious imagery by replacing the characters with my own models, including potential assassins of the ‘peace’ figure, also subvert the patriarchal bias running through the original by making the central most protagonist female.
Artist: Helen Grundy
Do Not Ignore.
Description: Another piece from the FEARMAIL series. Often people in hostels receive window pane envelopes that have a distinct aesthetic, they are pure bureaucracy and this particular envelope had a strident, almost aggressive tone and this made the recipient even more anxious. The response is basically, up yours! Again referencing punk culture and being anti establishment.
Artist: Victoria Plotnikova
https://p-s-art.com/plotnikova_eng/v_plotnikova_graphics_ways_of_alarm_eng.shtml / @victoria_plotnikova_art
"In the Stream"
Description: "In the Stream" captures a moment of collective displacement—a visual narrative of those swept away by the current of war. In this work, human forms blur into a single, flowing motion, carried downstream by an unseen but inescapable force. This linocut acts as a conversation with geography and memory, engaging with themes of belonging, uprootedness, and the silent negotiations between past and future. It invites reflection on the thousands of unrecorded dialogues between people and place, between memory and the necessity to move forward. The artwork is a response to real-world tragedies and historical repetitions. It visually echoes news reports, old migration routes, and refugee journeys, yet abstracts them to a mythic level—creating an image not tied to any one time, but reverberating across generations. "In the Stream" extends the conversation of identity and survival, opening a space for the viewer to consider their role: Are you downstream, witnessing? Upstream, privileged? Or part of the current itself? This piece doesn’t dictate answers. Instead, it listens and invites the viewer to do the same.
Artist: Kate Glenn
Feeld Lingerie.
Description: I made this lingerie set out of polyester chiffon fabric and some elastic. The text covering the slip garment was written by me, transcribing the usernames of 2065 accounts who sent me a "like" on the dating app Feeld. The bra and panty set beneath the slip is embroidered with the usernames of the 33 users I sent a like back to, matching with them. I wanted to put the names on my body in an intimate way that adorned the body they had admired when they sent the like to me. Giving more time and attention to the names that I showed more interest in by embroidering them instead of writing them elevated their status. However, only one of these users ended up meeting me in person and we ended up being platonic friends. I had a solo photo shoot with the lingerie set, taking more images than this initial one, showing more detail on the bra and pantie set as well.
Artist: Ronis Varlaam
www.ronisvarlaam.com
TWO CHAIRS AND ONE TABLE.
Description: The conversation has finished. Both people have left. One of them probably forever. And something strange is happening outside the window and elsewhere.
Artist: Alexander Stepanets
https://p-s-art.com/stepanets_eng/a_stepanets_illustrations_eng.shtml
"In the cucumber hollow"
Description: Set within a lush cucumber garden, this ballpoint pen and watercolour piece depicts a large rat greedily clutching a chocolate bar, unwilling to share with surrounding fairy hippos and turtles. The scene contrasts natural beauty with a toxic greed disrupting harmony, symbolised by a capsule of toxic liquid—an echo from popular animation. The work invites dialogue about coexistence, selfishness, and the fragile balance between nature and destructive forces, reflecting on how greed fractures peaceful conversations within communities and environments.
Artist: Karen Strong
Spoilt.
Description: 'Spoilt' is taken from Two 30-Year-Olds Cohabit, a collection of everyday Whatsapp conversations between a millennial couple living together in 2022. When you live with someone, the important or interesting conversations you have tend to be at home, in person, off-screen. This Whatsapp archive is made up of frustrated questions and impatient ‘Yups’ but also the warm moments of touching base outside of the home - often about matters of the home.
Artist: Zixiang Zhang
After the Remains
Description: After the Remains is a living installation composed of three sculptural forms that merge discarded textiles with cultivated mycelium. At its core, the work stages a material conversation between synthetic detritus and fungal intelligence—one that unfolds slowly, silently, and continuously. Drawing from the visual language of fossilisation and excavation, these sculptures resemble unearthed remnants from a future-past: layered, entangled, and in flux. The installation reflects on the entropic dialogue between fast fashion’s waste and the subterranean resilience of fungi. Mycelium, a living network, metabolises the fabrics, forming new bonds and morphologies that challenge sculpture’s traditional stillness. Rather than a monologue of form, After the Remains performs an open-ended negotiation between life and decay, surface and depth, human excess and ecological repair. This work enters into a dialogue with its environment—both spatial and temporal. It listens and responds to its surroundings: growing, decomposing, shifting. It echoes the unspoken language of the underground, where fungal systems thrive unseen yet deeply connected. The installation is not a fixed artifact but a collaborative act of becoming—material, biological, and conceptual. Through this, After the Remains asks: What does it mean to witness transformation rather than impose permanence? How do we reimagine waste not as an end, but as a beginning in another cycle of life? The viewer is invited into this intimate exchange, where each moment of observation captures a different state of becoming. It is an artwork that speaks slowly, across species and materials, tracing the quiet yet potent reverberations of ecological entanglement.
Artist: Jill Laudet
https://laudet.weebly.com/
Decent Homes For All
Description: This installation is a timely monument to the post-war aspirations of decent homes for all and is sited in Thamesmead, South London: the GLC’s ambitious new town to house 60,000 Londoners in the 70s. Thamesmead was designed as a series of neighbourhoods, each to be close to open green space and public services: schools, youth clubs, health centres. The 6 ‘monoliths’, in an arc, form a silent but challenging chorus: Decent homes for all - what has been lost? What can be achieved? The stencilled patterns on each are repeated, mirrored sections of estate plans; the gilded symbols above celebrate the skills of the residents in building their community. Intended to prompt questions, many conversations followed, including the urgent need for affordable homes and secure tenancies, and the personal costs of this lack of stability. Being present also enabled me to hear from the original residents about the power of self-organising and how they started clubs, adventure playgrounds, town shows ..and built their community. Sited on neglected land once part of the community, this was again open to the public by gallery no. 32 as their Winter Sculpture Park 25, and supported using public funding by the Public Lottery through Arts Council England and Thamesmead Community Fund, and hosted by Peabody.