Materiality: When the Material Becomes the Message
- Fiona Wyse
- Aug 8
- 3 min read
My husband and I spent our latest date night at the opening of Materiality at the Saatchi Gallery.
The exhibition is curated by bsmtspace, the same team behind Perspicere's solo exhibition that I visited earlier this summer. I was excited to see what they would do next and curious to discover a completely different group show.
Bringing together 21 artists from a wide range of disciplines, Materiality explores what happens when the physical substance of an artwork becomes just as important as the image, object or idea it represents.
In many of the works, the process of making remains visible. Cutting, stitching, burning, breaking, layering, weaving and assembling are not hidden away but become part of the artwork itself. You can see the labour, the decisions and sometimes even the mistakes. The journey from raw material to finished piece is placed centre stage.
This particularly resonated with me because it mirrors many of the conversations Diane Levitt and I have been having through our Crossing Crafts collaboration. Working between textiles and metal, we have been exploring how materials themselves can influence both form and meaning.
One familiar face in the exhibition was Perspicere, whose work I recognised immediately. I managed to catch a quick word with him and was delighted to hear that his recent solo exhibition was an enormous success. Having seen that exhibition, I can honestly say I am not surprised.
Choosing favourite works was difficult because the artists are working in such different ways, but a few pieces particularly stayed with me.
The work of Simon Berger was mesmerising. Berger creates portraits by striking sheets of glass with controlled hammer blows. Each strike creates cracks that can never be undone, yet through hundreds of carefully placed impacts he builds remarkably expressive faces. Standing in front of them, it is hard not to wonder how much planning and confidence is required to keep going when every mark is permanent.
I was also drawn to the portraits of Matthew Small. Using discarded urban materials, he creates bold portraits of young people who are often overlooked by society. The connection between the rejected materials and his subjects adds another layer of meaning, transforming waste into something valuable and worthy of attention.
Another standout was Dan Rawlings, whose laser-cut sculptures transform industrial objects into intricate scenes of nature. His work suggests a world where nature quietly reclaims what industry has left behind, creating pieces that feel both delicate and powerful.
What I enjoyed most about Materiality was its reminder that materials are never neutral. The texture of a surface, the weight of an object, the way something has been stitched, cracked, woven or assembled all influence how we respond to it.
In textiles, I've learned that materials often have a will of their own. Sometimes the most successful pieces come not from imposing an idea onto a material, but from responding to what the material wants to do. Whether it's a yarn that behaves unexpectedly, a tapestry that shifts on the loom, or a collaboration that evolves in an unforeseen direction, the material itself becomes part of the conversation.
In an increasingly AI-driven world, Materiality brings attention back to the tactile, imperfect and resolutely physical. It celebrates artists for whom material is not simply a vehicle for an idea, but an essential part of the story itself.
If you enjoy contemporary art and craft—or simply need a break from the King's Road crowds and fancy some air-conditioned inspiration—Materiality is well worth a visit.
Materiality
Saatchi Gallery, London
6 August – 12 September 2026
Participating artists:
Arlo Sinclair, Carrie Reichardt, Crystal Wagner, Dan Rawlings, Florist, Handiedan, Helch, Joe Everyman, Joe Sangre, Jonesy, Laura Ortiz Vega, LPVDA, Mário Belém, Matthew Small, Perishable Rush, Perspicere, Rocco and his Brothers, Sally Hewett, Simon Berger, Simon Hennessey and Soda.
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