WHAT TIME IS LOVE? | Exhibitions

What Time is Love? is an exhibition created by six artists from Peckham based collective Intoart presented within the domestic space of Flat Time House, the studio home of artist John Latham (1921–2006). Incorporating textiles, furniture, book works, drawing, painting, sculptural garments and photography, the artworks in What Time is Love? speak in chorus about moments of connection and belonging. This group exhibition has grown from time spent by the artists at Flat Time House over two years, with the house forming a space to reflect, talk about their practice and think collectively. The monumental scale and ambition of these works is politically charged, representing at once the energy and emotional intensity of the dancer whilst confronting the marginalisation of disabled people in the history of art. The exhibition title, taken from The KLF’s 1988 electronic dance anthem What Time is Love? references a shared subject of exploration for the group: alternative histories of music and culture. Over the course of the artists’ extended research, they explored how self-identities are expressed through sound and are formed and evolve from different cultural backgrounds and sonic contexts. The works in conversation reveal deep connections and histories shared by the artists as part of Intoart which has developed as a scene in its own right over the past 25 years.

Left: Nick Fenn Redcar is Crawling with Sound Right: Dawn Wilson, Youthman Promotion Sound System, Birmingham 1986

A collection of cassette tapes curated by the artists, and featuring contributors close to FTHo and Intoart, has grown over time as the exhibition developed. Cassettes will be available to listen to in the gallery alongside the artworks, serving as an audio mapping of the cultural scenes feeding into the production of the works on display.

Christian Ovonlen’s work re-animates euphoric memories of dancing at home to the ‘KLF’ on MTV in the early 1990s. New works on paper and textiles employing drawn and painted gestural mark making, as well as Ovonlen’s distinctive use of colour, explore and summon memories of music and transcendence.

Nick Fenn’s detailed series of site-specific drawings transcribe the sights and sounds of the post-industrial landscape into scores that produce multi-layered sonic compositions, as well as a new body of hand woven works that echo geological strata.

In her paintings of disabled dancers, Nancy Clayton reaches beyond the present moment to depict what it might look like to ‘Live in a New World’ where the ambitions of disabled people are nurtured.

Featuring her kaleidoscopic drawings, Ntiense Eno-Amooquaye’s sculptural garments reimagine historic costume and avant-garde couture, worn and embodied by her in a striking series of photographic self-portraits they become portals of transformation.

Dawn Wilson’s resonant compositions of Reggae sound systems in London, Birmingham and Kingston, Jamaica are drawn from black and white photographs documenting the historical significance of this cultural movement.

Andre Williams’ graphic drawing style and striking typography are applied to the interior of Flat Time House, with hand screen-printed textiles made for Latham’s furniture, new dust jackets drawn for Lathams’s library of books and custom designed furniture fabricated from Williams’ meticulously rendered illustrations.

Intoart is a pioneering multidisciplinary art, design and craft studio that champions the equity and visibility of learning disabled and autistic artists. Intoart celebrates its 25th year in 2025. During this time, Intoart artists have achieved recognition worldwide, exhibiting in museums and winning awards nationally and internationally. A growing collection of over 5,700 artworks are held in the Intoart Collection for future generations.

intoart.org.uk

Nancy Clayton

Nancy Clayton is a visual artist and dancer, her large scale drawings and paintings are informed by her experience and observation of the body in motion. These complex figurative compositions balance the weight and momentary flight of the body while also capturing an emotional intensity shared through performance.

‘Disability representation is very important in my work as a visual artist and dancer. I want people to know that disabled people can be artists. Not an outsider.’

‘Art can change society, if you’ve got a good imagination then art can be powerful. In your imagination and in society. For me it’s about working with the right people who enjoy your work and breaking boundaries together.’ (Nancy Clayton)

Nancy Clayton features in the exhibition Crip Stories (2025) at Kasteelpark de Lovie curated by Belgian arts organisation Wit.h vzw. In 2022 Clayton’s works were acquired by the Government Art Collection. She was a 2024/25 resident at Wysing Arts Centre.

Ntiense Eno-Amooquaye

Ntiense Eno-Amooquaye’s dress Jewellery Becomes Law from her exhibition Crashing the Glass Slippers (Chapter, Cardiff 2024) features in Design and Disability at Victoria & Albert Museum Kensington in 2025.

Crashing the Glass Slippers at Chapter, Cardiff is Ntiense Eno-Amooquaye’s largest solo exhibition to date, presenting her new collection of sculptural garments including dresses, capes and trouser suits. Reimagining historic costume and avant-garde couture, they feature her kaleidoscopic drawings. Worn and embodied by her in a striking series of photographic self-portraits and filmed performances, they become portals of transformation. Other significant bodies of work by Ntiense Eno-Amooquaye have been exhibited and performed in major contemporary art galleries and museums in the UK and internationally including solo exhibitions African Bird Dynasty at White Columns, New York (2022) and Art Deco Zebra Crossing at Flat Time House, London (2021). She received the Paul Hamlyn Foundation Award for Artists in 2022.

Nick Fenn

Nick Fenn’s drawings develop from a meticulous attention to detail and careful colour selection to create sensitively observed reportage drawings of London’s layered skyline and natural habitats, as well as new drawings made travelling through the industrial landscape of Redcar, North Yorkshire. Drawing is a starting point for filmmaking, sound works and woven textiles. Fenn incorporates these multisensory elements into installations that map the emotional landscapes he inhabits.

‘My work plays on the idea of sound and image intertwining like a vine climbing. Ambiguous landscapes and moments in time make me more aware of where I am in the world. I want people to question what they perceive.’ (Nick Fenn)

Nick Fenn lives and works in London. Recent projects include Views of the City from Different Places (2024), he was a 2025/26 resident at Wysing Arts Centre.

Christian Ovonlen

Christian Ovonlen’s work has developed from his interest in music, fashion and costume design. His practice begins with drawing. He uniquely translates the rich, layered colours found in his collections of drawings into hand crafted prints on paper and large-scale printed silk and cotton hangings. His eclectic tastes span a broad spectrum of visual and music culture, from the early 20th Century avant garde, Ballets Russes to the underground energy if 21st century UK Garage. Mixing and sampling the history of art and music in theatrical scale works on paper and textiles, Ovonlen transforms the gallery wall to create spaces of revelation and meditation.

Christian Ovonlen’s silk hangings, referencing the Ballets Russes and theatre productions from the 19th and 20th Century were acquired by the Victoria & Albert Museum in 2022 and displayed in Design and Disability at V&A Kensington in 2025.

Andre Williams

In 2024 Andre Williams was commissioned to create a public scuplture for BUILDHOLLYWOOD’s Camberwell sculpture garden Dancing in the Shadow of Henry. Andre Williams' first public realm commission, Let It Be Me, is a plinth based sculpture reaching out to shake the hands of passers-by, inviting them into a space alive with visual and textual associations that reverberate along Camberwell New Road and deep into the Brandon Estate.

Andre Williams's installation Room For Doubt was selected for New Contemporaries 2022, with exhibitions in Hull at Ferens Art Gallery and South London Gallery. Other exhibitions include Collect 2024, winning Best Display for his interior The Hidden Room. He featured in Fashioning Space at the Victoria and Albert Museum for London Design Festival in 2017.

Dawn Wilson

Dawn Wilson’s drawings and paintings are audible, capturing the sound of music and people’s voices as they come together: to dance, to worship or to be seen. Each work ignites the rich and deep history of Black music and style, spanning Congolese Rumba in 1950’s/ 60’s Kinshasa to the Reggae sound systems of Jamaica, London and Birmingham in the 1970’s and 80’s.

‘I make portraits of people and places, at church, on the street and in nightclubs. People in Jamaica, in Mali and Congo-Kinshasa, London and Birmingham. They are about the colour and shape of the face, about bodies moving together and being still. I look at African and Caribbean men’s and women’s fashion, the hair, the face, patterns and the line of the clothes. Fashion and style is important to me, what I wear and looking at what other people wear. It’s about the new, about colour and matching and getting the perfect shape.’ Dawn Wilson 2022

Dawn Wilson’s drawings of night life and street life in Kinshasa and Bamako were selected for New Contemporaries 2022 with exhibitions at Humber Street Gallery, Hull and South London Gallery. She exhibited as part of Collect 2024 at Somerset House where her work was acquired for the V&A Collection.

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