BBA Gallery

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• German artist Verena Bachl works across sculpture and installation. Her practice draws on industrial elements, material processes, and light to examine how functional objects persist beyond the systems they once served. These works occupy a space between infrastructure, geology, and artefact, where material transformation gives rise to new spatial and perceptual relationships. Titled Graceful Degradation, the exhibition follows gradual processes of change in which systems no longer perform as intended yet continue to retain traces of their former logic. Rather than focusing on rupture or collapse, the works dwell within transitional states, where stability remains provisional and transformation unfolds as an ongoing material condition. Systems rarely collapse in dramatic gestures; more often, they change state gradually, almost imperceptibly, as one condition gives way to another while traces of the former persist. The exhibition unfolds within metastable intervals, moments of internal recalibration where stability is provisional and structural tensions remain alive beneath the surface. The works traverse perceptual phenomena and emergent material constellations, tracing states in which transformation is not represented but structurally embedded in the behaviour of charged matter, indifferent to human presence. Light becomes surface, reflection becomes structure, signals begin to thin. Materials hover at thresholds, held in temporary alignment, suggesting that what appears coherent may already be shifting from within. Rather than narrating rupture or catastrophe, the exhibition follows change as a continuous reconfiguration—a process unfolding under ongoing conditions, in which elements displace, drift, and reform themselves without fully abandoning what came before. Across the space, perceptual fields, tipping arrangements, and metastable formations coexist as overlapping phases within a larger dynamic. They do not follow a linear progression but remain suspended in transition, while one configuration recedes and another quietly begins to take shape, in rhythms beyond control.
  Description

  Verena Bachl: Graceful Degradation

  13 Nov 2026 – 18 Dec 2026

  
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• Welsh artist Rhys Himsworth works across painting, print, sculpture, and digital fabrication, developing a material practice rooted in the transformation of electronic waste. His work examines the relationship between geological extraction and technological production, tracing how minerals embedded in the earth are reconfigured into the devices that structure everyday life. Titled Menhir, a term referring to standing monolithic stones erected across Neolithic landscapes, the exhibition draws on objects that persist beyond the conditions of their making. Found across cultures, these structures remain as markers of ritual and belief, yet their meanings often remain unclear. Himsworth approaches the exhibition through this ambiguity, positioning the works between the scientific and the symbolic. The exhibition will consist primarily of CNC-milled panels alongside a small number of sculptural forms. Shredded electronic waste, such as circuit boards, LCD screens and hard drives, are combined with resin to form dense composite blocks, which are then carved using three-, five-, and six-axis CNC processes. Machining operates here as a form of excavation, cutting into the material to reveal its internal structure. The panel works position themselves in relation to painting, initially resembling Modernist monochrome abstraction, whilst the sculptural works recall the earthworks of Land Art. Their surfaces are carved from source imagery derived from metamorphic stones such as marble and slate, translating patterns of veining into tool-paths that erode the surface. As the material is cut away, stratified layers of embedded waste are exposed. The process draws on geological weathering, where variations in density determine how a surface is worn over time, here reconstructed through digital means. Fragments of electronic waste become analogous to sediment, compressing extended chains of extraction, manufacture, and disposal into a single material surface. The works reference geological diagrams—cross-sections, strata, and topographical mapping—while functioning as constructed objects in their own right. Across the exhibition, the repeated transformation of material introduces a ritual dimension, in which technological debris is returned to a form that recalls its geological origin. In this context, the works can be understood as speculative monoliths, objects that operate as both records of contemporary production and as remnants of a future archaeology.
  Description

  Rhys Himsworth: Menhir

  13 Nov 2026 – 18 Dec 2026

  
  More info