in secret kept/ in silence sealed

in secret kept/ in silence sealed

3-5 Swallow Street London, W1B 4DE, United Kingdom Tuesday, June 8, 2021–Saturday, July 3, 2021


sitting with fox (small, ii) by iris schomaker

Iris Schomaker

Sitting with fox (small, II), 2021

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horse/blue dress (r&m) by iris schomaker

Iris Schomaker

Horse/blue dress (R&M), 2021

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untitled by iris schomaker

Iris Schomaker

Untitled, 2021

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sitting with fox (yellow trousers) by iris schomaker

Iris Schomaker

Sitting with fox (yellow trousers), 2021

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cat/rose by iris schomaker

Iris Schomaker

Cat/rose, 2021

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fox around neck (orange) by iris schomaker

Iris Schomaker

Fox around neck (orange), 2021

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untitled (striped jacket) by iris schomaker

Iris Schomaker

Untitled (striped jacket), 2021

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nightswimmer by iris schomaker

Iris Schomaker

Nightswimmer, 2021

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i see the dawn by iris schomaker

Iris Schomaker

I see the dawn, 2020

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woman/folded by iris schomaker

Iris Schomaker

Woman/folded, 2021

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head (bowed) by iris schomaker

Iris Schomaker

Head (bowed), 2021

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Huxley-Parlour Gallery is pleased to present a solo presentation of 16 new works on paper by Berlin based artist, Iris Schomaker, opening in June of 2021. The exhibition will be Schomaker’s first UK solo show. 


Taken from a line in a Charlotte Brontë poem, Evening Solace, the title of the exhibition ‘in secret kept/ in silence sealed’ reflects on interiority, solitude, and reworks the romantic understanding of ‘emotion, recollected in tranquility’. Rendered in flat, monochromatic planes, Schomaker’s characters are often pictured solitary, sometimes with an accompanying animal, and often in large scale. 


Schomaker’s figures - inscrutable and monolithic - are psychologically charged, drawing from Jungian archetypes to create atmospheric portraits that invite viewers to engage with introspective, ‘androgyn’ figures. Influenced by Japanese Woodblock prints and ink drawings, Schomaker’s works are built up with both charcoal and watercolour and finished with oil paint to create deep, gothic tableaus that Schomaker describes as like ‘film stills’. 


Brontë’s poetry takes imaginative departure from a post-cartesian conception of self. Here, the Romantic ‘recluse’ has an impenetrable exterior, harbouring secret feelings, desires, hopes and fears. Schomaker’s exhibition meaningfully reworks this conception by presenting her figures as radically vacant. While the surfaces of Schomaker’s work - angular, coarse, geometric - are symbolically charged, the characters of her paintings refuse to confer meaning. This is particularly evident in Schomaker’s faces, which remain obscured in each of the works. In turn, this collection of works - developed over a number of months - allow us to materially consider our contemporary sense of ‘self’.