This exhibition is an autobiographical exploration of conflict: its consequences and patterns. This show is different from anything I’ve done before, a very personal journey through war, resilience and love. And how we remember those stories.

An exhibition that pulls together memory, history and fate. Images as artefacts, layered with the past, connecting the dots. I have a photographic memory, not in the traditional sense. Rather images stay logged in my mind, and my brain sees the patterns, often years later.

In this exhibition everything is a story, and every story is connected. Even the tools and papers used to create the works have histories. The past is interwoven with our lives, questioning how we create change.

The full exhibition guide is available for download here.

For sales, contact info@gilesduley.com. Please note that pricing includes NY shipping and is based on unframed pieces unless otherwise noted. Mixed media and darkroom prints are handmade and unique, and lead times reflect this.

Jump to: Journals / Scars / Ivana / Seen It All Before / Kintsugi / Ukraine

Journals

What I See is Love

mixed media 2025
48×36 cm

$3000

‘Borscht’

mixed media 2025
48×36 cm

$3000

Third Battle of Gaza

mixed media 2025
48×36 cm

$3000

Screaming Eagle

mixed media 2025

50×36 cm

$5000

Scars

Scars 1. Verdun/Kramatorsk

mixed media 2025
42 x 22.5 cm

$1750

Scars 2. Verdun/Kramatorsk

mixed media 2025
42 x 22.5 cm

$1750

Scars 3. Verdun/Izium

mixed media 2025
42 x 22.5 cm

$1750

Ivana

Eileen 1940 - Ivana 2024

original magazine and c-type print 2025
69 x 46.5 cm

$3400

(framed only)

My mother Flora, born in East London, was an evacuee during the London Blitz of 1940. By the time of the V1 and V2 rocket attacks of 1944, she was a nursery nurse at St Mary’s Hospital. So when I first saw Cecil Beaton’s portrait of Eileen Dunne, sat in bed at Great Ormond Street Hospital, injured by bombing in 1940, I was looking at an image of mother’s own history. The fear in the eyes, the evacuee taken from her family, the young nurse treating children like Eileen. This is what my mother had seen.

At a hospital in Beirut a few weeks ago, as I walked into Ivana’s ward, my heart stopped. There in front of me, a young girl sat upright in bed, head bandaged, looking at me with those same eyes. 84 years later an echo of past war. Ivana Skeiki had been injured while in the street with her sister when an Israeli bomb hit a garage opposite their house. Like Eileen, Ivana is three years old.

Ivana and Fatima

c-type print 2025
78×95 cm

$2000

Winner of the 2025 Taylor Wessing Portrait Prize People's Pick Award

Seen It All Before 1-6

due to the archive sourcing required for these pieces, pricing is on request

mixed media collaborations with the artist Toni Hollis

Kintsugi

Deborah Kintsugi Process

mixed media collaboration 2025
104×74 cm

$5000

Deborah Kintsugi

mixed media collaboration 2025

40.7×21 cm

$4200

Kintsugi is a Japanese process of repairing broken ceramics with gold lacquer.

Kin = Golden

Tsugi = Joinery

It’s a beautiful Zen concept that means, when a precious bowl or plate is damaged, we should not try to make the repair invisible as we do in the West. Rather when the ceramic is re-joined the cracks are highlighted as beautiful and strong. The precious veins of gold that run through the bowl are there to emphasise that the breaks are part of the story and should be remembered and revered.

To me Kintsugi represents resilience. The experiences in life that broke us, damaged us, hurt us, caused us to suffer; those are the lines in our life’s fortune that should be repaired with gold. Not to be ashamed of or hidden; rather to be seen as the source of our strength and resilience.

These pieces are mixed media collaborations with the British artist Toni Hollis, who also worked with Giles to create the camera obscura in the exhibition’s Youth room.