Cece Philips Explores Selfhood and Domestic Space in "All the corners that are left" at Public Gallery, London

Key facts

• Public Gallery in London presents "All the corners that are left," a solo exhibition by London-based artist Cece Philips
• The exhibition comprises twelve paintings treating the home as an expanded portrait of the self
• The show follows the structure of a circadian rhythm, moving between dark and lit domestic spaces
• Langston Hughes' poem "Final Curve" frames the exhibition, and Gaston Bachelard's concept of "the corner" informs it
• The three-panel painting "Three women" (2026) articulates the triangulation of gazes recurring throughout Philips' work
• "The place where there is no darkness" (2026) depicts a nude figure stepping toward an illuminated bathroom doorway
• "These Unhomely Walls" (2026) references Charlotte Perkins Gilman's "The Yellow Wallpaper"
• Philips' engagement with Paul Gauguin is filtered through the critical lens of Griselda Pollock, and Johannes Vermeer informs her use of light
• Cece Philips was born in London in 1996 and lives and works in London
• Her work is held in collections including the Kistefos Museum, Jevnaker; Sveaas Art Foundation, Oslo; and Arriola Foundation, Madrid