Ceramicist William Martin takes over The Smallest Gallery in Soho to present his new installation, centered around the domestic space of a Soho resident who is being evicted from his property.

Read the Run-Riot Interview with William.

William Martin's 'Liam' runs at The Smallest Gallery in Soho all day, all night, from April - until the end of June 2018.

For this exhibition, the concept of a domestic space has been created in parallel with Martin’s art: his works, pieces and creative explorations, creative departures and references.

Have you seen Liam? He must leave his place in 2 months. The council has sold the building to a property developer and he is being forced out of his Soho home he has lived in for the past 30 years. Liam is around 5'10", in his 50s, grey hair, dresses well, a massive ceramics collector and his partner is worried about him because he has left without taking his medication. Do get in contact with us if you see him.

William Martin invites you to look at this universe of this Soho room and home. For many of those who have had Soho as their neighbourhood, who have made Soho's spirit may have noticed this 'spirit' has now gone and has transformed, being commercialised for visitor’s consumption, like many other areas of London.

About William Martin

A skilled ceramicist, South African born Martin has exhibited in the UK, New York and South Africa. Martin was apprenticed to Master Potter John Bauer while studying Anthropology, Art History and English at the University of Cape Town, South Africa.

At 21, Martin was selected as one of 100 artists to participate in the South African Biennial, Spier Contemporary 2011. He then came to London to continued his studies in Modern and Contemporary Art History at Christie’s Education. Martin worked as a studio technician and teacher at Turning Earth Ceramics, before being selected for a year long residency at the Florence Trust in Highbury.

Martin is currently based in Peckham Rye, where he has studios in the Bussey Building and the Kiln Rooms. With a Focus on installation, Martin’s work explores themes of absence, masculinity, and colonial history. Individual and collective identity, power and privilege are enshrined in the material, form and pattern of Martin’s work.