AWITA at Echo Soho
Resonant Spaces: Curating Echoes

At the centre of the booth is a raised mirrored plinth - a conceptual “pond” - which holds six works addressing selfhood, portraiture, and identity. Visitors look down into the reflective surface, recalling both Echo’s lingering voice and Narcissus’s fatal gaze. Works here include three pieces by Jyll Bradley, whose practice brings light and belonging into dialogue with queer identity; Cleo Stoutzker, whose layered portraits and landscapes explore diaspora and intergenerational memory; Sena Başöz, whose The Ivy weaves fragments of family photography with climbing ivy to reflect cycles of life, memory, and womanhood across generations; Luca Asta’s Gonads, an analogue print exploring the psychosocial construction of the body, confronts the politics of gender and corporeality through a stark, intimate lens; Emma Tod, whose work investigates the interplay of memory and objecthood, transforming everyday materials into poetic meditations on presence and absence, Damaris Athene’s glass painting series diffract// plays with light, reflection, and the movement of the viewer, challenging perception and depth; Paola Estrella’s Cenote Glitch references Yucatán cenotes as portals of transition, ancestral memory, and ecological cycles; Selome Muleta’s Untitled continues the artist’s exploration of selfhood and the thresholds between interior and exterior worlds, often expressed through the domestic space as a site of reflection and renewal; Polina Piëch’s analogue photography centres on exploring movement within nature’s elements - how air travels the earth - sparking a dialogue between the contrasts of slowness and motion.

Laura Gannon’s recent paintings on linen, made with metallic ink and subjected to folding, bending and wrinkling, reveal the material’s corporeality and raw directness. Fani Parali’s clay reliefs consider birds as embodied voices, carriers of song and myth. The practice of Jane Harris anchors this strand: Harris quietly crafted a meticulous, highly disciplined body of work focused on perception and subtlety. Her insistence on structure, limiting colour, motif, and technique, allowed rich variations and optical play. In this context, her paintings show how a single motif can become a site of infinite variation and sustained emotional charge. Together, the mirrored floor and surrounding works stage a dialogue between interior reflection and exterior resonance, between the persistence of self and the echoes that carry through space, time, and landscape.