New exhibition

Cecilia Fiona: Spirals Gathering, Time Breathing is a free-to-attend exhibition at Towner Eastbourne, Gallery 1 until November 1.

The show is Cecilia Fiona’s first institutional solo exhibition in the UK.

Spokeswoman Keziah Keeler said: “Danish artist Cecilia Fiona is based in Copenhagen and works across painting, costume, performance and sculpture. Her practice is concerned with imagining and exploring the interconnected relationship between the body, the earth and the cosmos. From the microscopic realm of atoms and cells to the vast cosmic scale of the universe, Fiona envisages the movement and flow of energy through all things, picturing the universe as one vast living organism.

“Spirals Gathering, Time Breathing features new paintings, sculptural installations and a sound piece made in collaboration with Lucie Cure. In this new body of work, Fiona creates extraordinary dreamlike imagery: bodies and beings dissolve into ribbons, roots and tendrils, looping and weaving in cycles of creation and destruction, metamorphosis and regeneration. Drawing inspiration from sources as varied as human and plant biology, Norse mythology and quantum physics, she works intuitively, bringing the inner world out.

“Fiona’s sculptural installation Spirals Gathering, Time Breathing (2026) forms the centrepiece of the exhibition. Suspended from the ceiling, a circular canopy of hand-painted jute spanning four metres in diameter evokes the body or bell of a jellyfish. Plaited sisal strands descend towards the floor, surrounding a dead tree at the centre of the artwork. This extraordinary installation references the immortal jellyfish Turritopsis dohrnii, and Yggdrasil, the Tree of Life in Norse mythology. Echoing themes of metamorphosis and regeneration, the aptly named immortal jellyfish is a tiny sea creature capable of reversing its own life cycle, while the legendary Yggdrasil is associated with life, death and the continuity of the cosmos.” As Fiona describes it: “Branches become tentacles, tentacles become roots, and hybrid bodies seem to be growing and dissolving at the same time. Throughout the installation, life and death appear not as opposites but as part of the same movement. The suspended creature hovers somewhere between organism, landscape and cosmos as if the universe itself were a living body gathering spirals and breathing time.”

Keziah added: “Two exquisite large-scale paintings, Birth and Black Holes (2026) and The Butterfly Between Worlds (2026), have been created for the exhibition at Towner. These paintings explore dualities of creation and destruction, beginning and ending, generation and dissolution, the microscopic and cosmic.

“Birth and Black Holes continues Fiona’s interest in the creative and destructive potential of spiral movement. When a human egg is fertilised, proteins inside the cell create spiralling waves across its surface, initiating the processes that allow new life to emerge. The title of this painting also references black holes which draw matter towards them in a violent inward spiral.

“One of the greatest symbols of metamorphosis, a luminous butterfly features in The Butterfly Between Worlds. Through its translucent wings, an otherworldly figure appears, carrying a face whose eye releases flowering branches that descend into oval-shaped lakes. Across both paintings, boundaries between body, landscape and cosmos remain unstable. Fiona’s paintings are drawn from her imagination; each one begins with a rudimentary sketch on paper before Fiona starts painting directly onto canvas. Using a fine brush, she builds intricate organic networks across the surface, while universes of interweaving forms fill the space of the canvas like lacework.

“In the sculptural installation Questions from a Seed (2026), two trumpet-shaped cones hang from the ceiling with their flared openings facing one another, like parallel worlds suspended in dialogue. The work draws inspiration from entanglement, a phenomenon observed in quantum physics in which two or more particles remain inextricably linked, regardless of distance. Music emanates from seedlike forms at the centre of the installation. Fiona imagines these forms as seeds, stars, atoms or even souls, calling and singing to one another across an unseen distance.”