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3 Dye Works Yard, London E9 5LH
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MORE: large-print guide

20 June – 27 September 2027. Galleries 1 and 2. This guide contains every wall text in the exhibition, in the order you will meet them. Printed copies in 24-point type are at the entrance.

Curator’s introduction

For most of the last century, the gallery wall was supposed to be white, the room quiet and the visitor a little intimidated. Good taste meant restraint. More was vulgar.

This exhibition disagrees. MORE brings together thirty artists from twenty cities who work with too much on purpose: too much colour, too much pattern, too many objects, too many people. They borrow from market stalls and parade umbrellas, cinema posters and grandmothers' looms, seaside postcards and shop signs. Their excess is not decoration. It is memory, community and a kind of joy that is hard to find in a beige room.

The show moves through six rooms, from painting at full volume to a finale that grows every day with paper donated by visitors. Some of it is loud. Some of it glows. One piece breathes. You are allowed to feel overwhelmed; there is seating in every room, and quiet hours twice a week.

We hope you leave with your eyes a little tired and your head a little fuller. That is the point. Less was never more. More is more.

Dr Ama Okafor-Reyes, Senior Curator, Loud House

Room 1: Too Much Colour

Painting, turned all the way up. Six painters who treat restraint as a dare they refuse to take. Stripes that buzz, rings that wobble and faces built in a hurry. Stand in the middle of the room: everything is looking at you.

Ines Obrador (b. 1984, Valencia)

Obrador paints at the scale of a billboard and the speed of a sketch. Her canvases stack stripes of colour until they buzz, then puncture the calm with a single loud circle.

  • Mediodía (Noon Parade), 2025. Acrylic on canvas. A large painting of horizontal stripes in hot pink, orange and cobalt blue, crossed off-centre by a huge acid-yellow circle outlined in black.
  • Too Many Suns, 2026. Acrylic and glitter on canvas. Rays of acid yellow and hot pink fan out from an orange half-sun at the bottom edge, outlined in thick black.

Kwame Asante-Lowe (b. 1979, Accra and London)

Asante-Lowe's concentric paintings began as studies of vinyl records and market umbrellas. Seen close up, every ring wobbles: the precision is a performance.

  • Side B, 2024. Oil on linen. Concentric rings of cobalt blue, hot pink and black on a cream ground, their centre pushed away from the middle of the canvas.
  • Umbrella Market, Makola, 2026. Oil on linen. Soft, rounded shapes in cobalt blue, acid yellow and hot pink overlap on an orange ground like umbrellas seen from above.

Yuki Harada (b. 1991, Osaka)

Harada paints faces that are also floor plans: every nose is a triangle, every cheek a circle. She calls them portraits of people in a hurry.

  • Commuter (Pink Line), 2025. Gouache on board. A face built from flat shapes: a hot-pink oval face with a black zigzag fringe, round staring eyes, an orange triangle nose and orange cheeks, on cobalt blue.
  • Rush Hour Quilt, 2026. Gouache on board. A grid of squares, each split diagonally into two triangles of hot pink, cobalt blue, acid yellow or orange, joined by dashed black lines.

Delphine Moreau-Sy (b. 1988, Marseille)

Moreau-Sy borrows the chequerboards of Marseille café floors and lets them melt. Her arches are doorways into rooms you are not quite allowed in.

  • Café Floor, Late, 2025. Oil on canvas. A black and cream chequerboard interrupted by a tall orange arch outlined in black and a smaller hot-pink circle.
  • Mistral, 2026. Oil on canvas. Vertical wavy stripes of cobalt blue, orange and hot pink ripple across a cream ground like wind through a curtain.

Tomasz Wierzbicki (b. 1975, Łódź)

Wierzbicki spent twenty years painting cinema posters by hand. His new work keeps the poster's volume and removes the film.

  • Coming Soon, 2024. Acrylic on canvas. Horizontal stripes of acid yellow, black and hot pink, crossed by a large cobalt-blue circle outlined in black.
  • Double Feature, 2025. Acrylic on canvas. Concentric rings of acid yellow, cobalt blue and hot pink on an orange ground, pulled off-centre.

Room 2: Pattern Recognition

Quilts, barkcloth, wallpaper and prints. The pattern-makers. Repetition here is a kind of memory: of grandmothers' looms, parade umbrellas and strangers' clothes. Look long enough and the patterns start to look back.

Priya Ramanathan (b. 1986, Chennai and Leeds)

Ramanathan weaves on the loom her grandmother used for saris, but the threads are reflective, fluorescent and occasionally cut from recycled hi-vis jackets.

  • Hi-Vis Kanjivaram, 2026. Woven reflective and cotton thread. A woven grid of diagonal triangles in orange, acid yellow, hot pink and cobalt blue, joined by dashed black stitching.
  • Border Study, 2025. Woven cotton. Vertical wavy stripes of orange, acid yellow and cobalt blue on a hot-pink ground.

Olu Adeyemi (b. 1990, Lagos)

Adeyemi screen-prints in editions of one. Each layer is printed off-register on purpose, so no two prints ever quite agree.

  • Danfo Dreams, 2025. Screen print. Hot-pink squiggles, cobalt-blue triangles outlined in black and orange dots scattered across an acid-yellow ground with a fine grid of black dots.
  • Signal, 2026. Screen print. A field of cobalt-blue dots on cream that swell and shrink across the sheet like an enlarged newspaper photograph.

Hana Kovač (b. 1982, Zagreb)

Kovač makes quilts from the clothes of strangers, collected at swap parties she hosts in her studio. Every square has a story; she refuses to tell you which.

  • Swap Party No. 9, 2024. Quilted second-hand clothing. A quilt of squares, each split into two triangles of cobalt blue, cream, hot pink or green, held together with dashed black stitches.
  • Hem, 2026. Appliqué on canvas. A hot-pink and cream chequerboard with a tall cobalt-blue arch outlined in black and a small acid-yellow circle.

Marcus Delacroix-Bell (b. 1977, New Orleans)

Delacroix-Bell's prints start from second-line parade umbrellas, flattened and multiplied. He prints on wallpaper stock so the work can escape the frame.

  • Second Line (Wallpaper), 2025. Screen-printed wallpaper. Acid-yellow squiggles, cobalt-blue triangles outlined in black and cream dots scattered over a hot-pink ground with a fine grid of black dots.
  • Parade Route, 2026. Relief print. Rays of cobalt blue and orange fan out from an acid-yellow half-sun outlined in black.

Sione Taufa (b. 1993, Nukuʻalofa and Auckland)

Taufa paints ngatu barkcloth patterns in fluorescent pigment, then stitches in plastic collected from the beach near his family home.

  • Ngatu for the Future, 2026. Pigment on barkcloth. A grid of diagonal triangles in black, orange, cream and acid yellow, joined by dashed black stitching.
  • Tide Line, 2025. Barkcloth and found plastic. Vertical wavy lines of cobalt blue, green and hot pink across a cream ground.

Room 3: Soft & Loud

Sculpture that won't sit still. Foam pretending to be marble, inflatables that sigh on a timer, and a totem built from shop signs. One of these sculptures is designed to be sat on. The invigilators will not tell you which.

Good to know: Inflatables move slowly every 20 minutes.

Greta Lindqvist (b. 1969, Gothenburg)

Lindqvist carves foam and coats it in car paint until it looks heavy enough to fall through the floor. It weighs about as much as a cat.

  • Heavy (Not Heavy), 2025. Painted foam. A sculpture of stacked geometric forms in hot pink and acid yellow balanced on a white plinth, photographed against a cream wall above a black floor.
  • Blob Choir, 2026. Painted foam and steel. Rounded blob shapes in hot pink, orange and cobalt blue crowd together on an acid-yellow ground.

Tunde Bakare (b. 1985, London)

Bakare builds totems from shop signs salvaged along Peckham's Rye Lane. The letters are removed; the colours stay.

  • Rye Lane Totem, 2026. Salvaged acrylic signage. A tall stack of geometric forms in acid yellow and orange on a white plinth, photographed against a hot-pink wall above a cobalt-blue floor.
  • Open Late, 2025. Neon and acrylic. Loops of glowing tubing in hot pink, acid yellow and cobalt blue against a black background.

Camila Restrepo (b. 1989, Medellín)

Restrepo's inflatable sculptures breathe on a timer. Every twenty minutes they sigh, slump and rise again; visitors tend to sigh with them.

  • Respira, 2027. Inflatable PVC and fans. Swollen rounded shapes in hot pink, acid yellow and orange overlap on a cobalt-blue ground.
  • Siesta, 2026. Inflatable PVC. Concentric rings of cream, orange and cobalt blue on a hot-pink ground, set off-centre.

Ilse Vermeulen (b. 1981, Antwerp)

Vermeulen casts everyday objects (kettles, trainers, a traffic cone) in jelly-coloured resin, then arranges them like saints on an altar.

  • Altar for Small Things, 2025. Cast resin. Stacked geometric forms in hot pink and green on a white plinth, set against an acid-yellow wall above a cobalt-blue floor.
  • Traffic Cone Madonna, 2026. Cast resin. An orange and cream chequerboard behind a tall hot-pink arch outlined in black and a small cobalt-blue circle.

Jae-won Park (b. 1994, Seoul)

Park's soft sculptures are stitched from plush-toy fabric and sized for adults. You are allowed to sit on one of them. You will have to find out which.

  • Big Soft, 2026. Plush fabric and foam. Plump rounded shapes in acid yellow, cobalt blue and cream pile up on a hot-pink ground.
  • Seat (Maybe), 2027. Plush fabric. Stacked soft geometric forms in acid yellow and orange on a white plinth, against a cobalt-blue wall above a hot-pink floor.

Room 4: Night Bloom

Neon, LED and slowed-down fireworks. The lights go down and the work switches on. This is the dimmest room in MORE and the loudest in colour. There is a quiet corner with seating by the exit, marked on the sensory map.

Good to know: Low light. No flashing: light levels change slowly.

Noor Haddad (b. 1987, Beirut and Berlin)

Haddad bends neon by hand into the shapes of Beirut's electricity cables, which she has been drawing from her balcony since 2006.

  • Cables Over Hamra, 2025. Neon. Tangled loops of glowing hot-pink, cobalt-blue and acid-yellow tubing against a black background.
  • Generator Hours, 2026. Neon and timer. Looping lines of glowing orange, hot-pink and green tubing against a black background.

Felix Oyelaran-Stone (b. 1992, Bristol)

Oyelaran-Stone builds rooms out of disco light and plywood. His installations listen: the louder the room, the brighter the work.

  • Dance Floor for One, 2026. LED, plywood and sound. A black and hot-pink chequerboard floor interrupted by a tall acid-yellow arch outlined in black and a small cobalt-blue circle.
  • Bassline, 2027. LED and sound. Rays of black and hot pink fan out from a cobalt-blue half-sun outlined in black.

Aiko Brennan (b. 1983, Dublin)

Brennan films fireworks, then slows them down until each spark takes a minute to fall. Her projections loop, so the celebration never quite ends.

  • Slow Fireworks, 2025. Three-channel video projection. A dark field of hot-pink dots that swell and shrink like a slowed-down burst of fireworks.
  • Afterglow, 2026. Video projection. Looping trails of glowing acid-yellow, orange and hot-pink light against a black background.

Rafael Quispe (b. 1980, La Paz)

Quispe's hanging installations borrow the colours of Aymara aguayo textiles and the geometry of La Paz's cable cars.

  • Teleférico, 2026. Painted aluminium and cable. Vertical wavy lines of hot pink, acid yellow and green running down a black ground.
  • Aguayo Sky, 2025. Painted aluminium. A grid of diagonal triangles in hot pink, green, orange and acid yellow joined by dashed black stitching.

Linnea Sato-Berg (b. 1990, Stockholm)

Sato-Berg makes rooms that glow in the dark for exactly as long as it takes to read the wall text. You may want to read quickly.

  • Phosphor Garden, 2027. Phosphorescent paint. Rounded glowing shapes in green, acid yellow and hot pink float on a black ground.
  • Read Quickly, 2026. Phosphorescent paint on wall. Concentric rings of green, acid yellow and cream on a black ground, set off-centre.

Room 5: Crowd Scenes

Photographs of people, together. At rush hour, at weddings, at feasts, at closing time. Nobody here is alone and nobody is quiet. The biggest print in the room is the size of a London bus.

Zanele Mokoena (b. 1986, Johannesburg)

Mokoena photographs taxi ranks at rush hour and prints them at the size of a bus. Her subjects chose their own poses, and their own backdrops.

  • Noord Street, 5.40pm, 2025. Inkjet print. A bold portrait: an orange oval face with a black zigzag fringe, round staring eyes, and a hot-pink nose and cheeks, against acid yellow.
  • Backdrop (Borrowed), 2026. Inkjet print. Black dots swell and shrink across a hot-pink field like an enlarged newspaper photograph.

Arjun Mehta-Clarke (b. 1978, Mumbai and Glasgow)

Mehta-Clarke photographs wedding guests at the exact moment the music starts. Nobody is posing; everybody is about to dance.

  • Baraat, Govan, 2025. C-type print. A portrait built from flat shapes: an acid-yellow face with a cobalt-blue zigzag fringe, round eyes and an orange nose and cheeks, on hot pink.
  • First Song, 2026. C-type print. Rays of orange and acid yellow fan out from a hot-pink half-sun outlined in black.

Beatriz Salgado (b. 1995, Lisbon)

Salgado photographs azulejo-tiled façades, then collages the people walking past back into the pattern.

  • Rua das Flores, 2026. Photographic collage. A grid of diagonal triangles in cobalt blue, cream, acid yellow and hot pink, like a tiled façade, joined by dashed black lines.
  • Passer-by, 2027. Photographic collage. A portrait built from flat shapes: a cobalt-blue face with a hot-pink zigzag fringe, round eyes and an acid-yellow nose and cheeks, on cream.

Levan Gelashvili (b. 1984, Tbilisi)

Gelashvili photographs supras, Georgian feasts, from directly above, so the table becomes a painting of plates, hands and wine.

  • Supra from Above, 2025. Archival pigment print. Concentric rings of cream, hot pink and orange, like a plate seen from above, on a green ground.
  • Tamada, 2026. Archival pigment print. Cobalt-blue squiggles, hot-pink triangles outlined in black and orange dots scattered across a cream ground with a fine grid of black dots.

Mei Lin Chua (b. 1988, Singapore)

Chua's photographs of hawker centres at closing time are lit only by the stalls' own signs. The colours are real, she promises.

  • Closing Time, Maxwell, 2026. Archival pigment print. Loops of glowing cobalt-blue, hot-pink and acid-yellow light against a black background.
  • Stall 23, 2025. Archival pigment print. Horizontal stripes of orange, cream and hot pink crossed by a large cobalt-blue circle outlined in black.

Room 6: Everything, Everywhere

The finale. A room-sized collage that grows every day, a mural that will be painted over when the show closes, and 40,000 postcards. Bring an offcut, any paper in any colour, and the Confetti Collective will add it to the wall.

Good to know: Busiest room on weekend afternoons.

The Confetti Collective (founded 2014, Manchester)

Eleven artists, one rule: nothing gets thrown away. Their room-sized collage grows every day of the exhibition with offcuts donated by visitors.

  • Everything Must Stay, 2027. Mixed media, ongoing. Cobalt-blue squiggles, acid-yellow triangles outlined in black and hot-pink dots scattered over an orange ground with a fine grid of black dots.
  • Offcut Wall, 2027. Visitor-donated paper. A dense grid of diagonal triangles in acid yellow, hot pink, cobalt blue and orange joined by dashed black lines.

Oona Fitzgerald (b. 1976, Cork)

Fitzgerald paints over charity-shop landscapes until only the frame remains polite.

  • Over the Hills (Again), 2025. Acrylic on found painting. Vertical wavy stripes of hot pink, acid yellow and cobalt blue painted over a green ground.
  • Polite Frame, 2026. Acrylic on found painting. An acid-yellow and black chequerboard behind a tall hot-pink arch outlined in black and a small cream circle.

Fatou Diallo (b. 1989, Dakar)

Diallo's wax-print banners are stitched with slogans borrowed from Dakar's painted buses, then cut up so the slogans only half survive.

  • Car Rapide, 2026. Wax-print cotton and appliqué. Rays of acid yellow and cobalt blue fan out from a hot-pink half-sun outlined in black.
  • Half a Slogan, 2025. Wax-print cotton. Acid-yellow squiggles, orange triangles outlined in black and hot-pink dots scattered over a cobalt-blue ground with a fine grid of black dots.

Luiz Ferreira (b. 1983, São Paulo)

Ferreira paints murals in São Paulo's Zona Leste that last until the next rainy season. For MORE he has painted straight onto the gallery wall; it will be painted over on 28 September.

  • Até a Chuva (Until the Rain), 2027. Acrylic on wall. Horizontal stripes of cobalt blue, acid yellow and hot pink painted across a wall, crossed by a large orange circle outlined in black.
  • Zona Leste, 2026. Acrylic on canvas. Rounded shapes in hot pink, cobalt blue and acid yellow overlap on an orange ground.

Hollis Grey (b. 1965, Margate)

Grey has made collages from seaside postcards since 1983. There are 40,000 of them in the garage, and the household would like some of them to leave.

  • Wish You Were Loud, 2026. Collage on board. Hot-pink squiggles, orange triangles outlined in black and cobalt-blue dots scattered across a cream ground with a fine grid of black dots.
  • Margate Sunset (40,000 Postcards), 2027. Collage on board. Rays of hot pink and orange fan out from an acid-yellow half-sun outlined in black.