Lumps and Bumps

Lumps and Bumps, Rose Easton, London, 9 May – 27 June 2026

Dogperson

Sarah Benslimane

Sylvie Fleury

Charlotte Kingsnorth

Caitlin MacQueen

‘Lumps and Bumps’

3 Oct – 12 Dec 2026

A hand sheathed in a white cotton glove gently bends a peach-coloured-silicone toe back-and-forth. Three women locked inside a shiny marble room lift their red dresses and slap their round pink bellies before scooping them up into magical tummy control pants. A beautiful AI-generated brunette who sometimes has freckles, and sometimes has green eyes, or brown, or blue is interviewed on television about her role in a forthcoming film and suddenly starts speaking in a different language. How do we represent – and comprehend – the body in an age that has snubbed its own materiality?

Each of the five artists in Lumps and Bumps negotiates categorisation and perception, the flesh and the eye. Sylvie Fleury presents here an amorphous glowing sculpture. Look at it for longer than you might usually, and its mounds begin to shift. It is Venus De Milo left to rot on Neptune, her shoulders and breasts collapsing into soft crepuscular humps. Extraterrestrial in its seductive, silken blue chrome, it presents a disruption of the conventionally desirable female silhouette, with the added allure of body-horror. Is this a foreign object, a being, or is it a pool of unregulated flesh, breaking free from its shapewear?

Within the walls of the gallery, the body – your body – is echoed in puckered metallic surface, foamy leather and pixelated wool by artists that play with the anxieties of classification between art, object, furniture. Such taxonomies interest Sarah Benslimane whose practice considers how information circulates freely like poetic trash. Her wall-based, three-dimensional assemblages, made with found objects and using industrial materials, consciously trick the viewer’s expectations of our digital reality. Her grid of highly reflective, pillow-like metal panels blurs distinctions as we become momentarily trapped inside our dappled reflection. Benslimane’s surface only promises comfort.

Fashion constantly urges the body to conform. The obedience of flesh coloured athleisure, of skin surgically stripped and pinned, of online twin selves with pores crafted by pixels, is all wrapped up in Charlotte Kingsnorth’s leather marshmallow bench. Like Fleury, Kingsnorth takes a seductive material or colour into a direction that unnerves. Assembling discarded chairs, carved logs and thick nubby textiles she offers echoes of a body that is mostly, maybe, human but maybe not. Herworks have the suggestion of soft toys that have mutated into a nymphic near-future.

If Kingsnorth’s pale leather and padding suggest ease, then Dogperson39’s flat rug is the antithesis. The artist maintains a high level of anonymity, their identity managed and mediated through digital aliases. They are, in a sense, unbodied; an ethereal presence sheltered from public consumption. Dogperson39’s enormous floor work provides the gallery with a supple, direct portal to hell. Using unruly structure, shape and softness, the artist makes a demand for a body that is incorporeal and disguised.

All of the works in Lumps and Bumps contain a tenderness or abundance within them that remains off limits. This containment – of a body or a form within a space – fizzes in Caitlin MacQueen’s hallucinatory painting of a nightclub populated by people caught between dancing, watching, and moving through each another. Her challenge is to make something from blurry old footage or photographs. She is, like all of us, a body in the world, seeing and observing and misremembering. In her bygone mis-én-scene, figures search for stability within the social space of the club without the supervision of the smartphone. In a powdery setting made up of layers and layers of thin paint that need to be, she says, “felt with the eyes,” we sense the obfuscation of humanness.

Text by Dal Chodha

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Dogperson39 (b. Los Angeles, United States) lives and works in Los Angeles. They received their BFA from California College of the Arts (R.I.P.). Selected solo and two-person exhibitions include: Five Churches, Los Angeles (2026); GodPerson93, with Parker Ito, Temple Projects, Los Angeles (2025); Virgin America, Château Shatto, Los Angeles (2016); Fucking Fuck Fuck Fuck: To Live and Die in the Country, Eli Ping Frances Perkins, New York (2015); and The Show in Brussels at Elaine and Florent’s Gallery with Charlemagne Palestine, Levy Delval, Brussels (2014). Selected group exhibitions include: Lumps and Bumps, Rose Easton, London (2026); Condo, Foxy Production, New York (2017); Grind, curated by Joshua Nathanson, Various Small Fires, Los Angeles (2016); Where the Awning Flaps, Galerie Éric Hussenot, Paris (2015); Thanks to Apple, Amazon, and the Mall, curated by Brian Droitcour, Klaus von Nichtssagend Gallery, New York (2015); Sneakerotics, Edouard Malingue Gallery, Hong Kong (2013); and Random Rotations, The Berkeley Art Museum, Berkeley (2011). They have also presented work in the Present Future section of Artissima, Turin, curated by Sohrab Mohebbi (2016).

Sarah Benslimane (b. 1997, Besançon, France) lives and works in Geneva. She obtained her bachelor and master's degree in Art at HEAD – Genève, in Geneva, Switzerland. Recent solo and two-person exhibitions include: Fondation Pernod Ricard, Paris (forthcoming, 2027); Le monde à l’envers, Fondation Pernod Ricard, Paris (2026); Sarah Benslimane - Prix Culturel Manor 2025, MAMCO x SdA, Genève (2026); Le monde à l’envers, Galerie Francesca Pia, Zurich (2025); Liste Art Fair, with Madragoa, Lisbon, Basel (2024); Plymouth Rock, Zürich (2024); NEW WORKS 2023, Madragoa, Lisbon (2023); Dreamstime, Centre d’Art Contemporain Genève (2023); and The Way We Trust, Tunnel Tunnel, Lausanne (2023). Recent group exhibitions include: Good or Trash, Paris (forthcoming, 2026); Lumps and Bumps, Rose Easton, London (2026); Maison CLEARING, Clearing, Basel (2025); Zurich Biennial, Kunsthalle Zurich (2023); Troubles, Ordet, Milan (2023); Récits de collections, MAMCO Genève, Geneva (2023); La Réforme de Pooky, Friart Kunsthalle Fribourg (2022); Chemical X, Cherish, Genève (2022); and Nour el Ain, Karma International, Zurich (2021). Her works are part of several private and public collections, such as MAMCO - Genève; Fondation Gandour pour l'Art; The Syz Collection; FRAC Normandie - Caen and FRAC Artothèque Nouvelle - Aquitaine.

Sylvie Fleury (b. 1961, Geneva, Switzerland) lives and works in Geneva. Selected solo exhibitions include: Thunderb, Mrac Occitanie, Sérignan (2025); Instructions for Twilight, Performa, New York (2025); Museum der Moderne Salzburg, Salzburg (2025); Yes to All, Kunsthal Rotterdam, Netherlands (2024); Sylvie Fleury, Kunst Museum Winterthur, Winterthur, Switzerland (2023); S.F., Sprüth Magers, London (2023); She-Devils on Wheels, Thaddaeus Ropac, Paris, France (2020); Eternity Now – Part of the Permanent Collection, The Bass, Miami, FL, USA (2017); It Might As Well Rain Until September, Salon 94 Bowery, New York, USA (2013). Selected group exhibitions include: The Impermanent, Muzeum Sztuki Nowoczesnej / Museum of Modern Art, Warsaw (2025); Love Fashion: In Search of Myself, National Museum of Modern Art Kyoto, Kyoto (2024); Form Matters, Matter Forms, From Readymade to Product Fetish, Kunst Museum Winterthur, Winterthur, Switzerland (2024); FAIRE CORPS, Villa Datris, L’Isle-sur-la-Sorgue, France (2024); Pas de Sommeil, Musée des Beaux-Arts de Rennes, France (2022); and Le Supermarché des Images, Jeu de Paume, Paris, France (2020).

Charlotte Kingsnorth (b. 1985, London, United Kingdom) lives and works in London. She is a graduate of the Royal College of Art's Design Products programme. She runs a London-based practice and has collaborated with Fendi, SHOWstudio, Tyler, The Creator, Christie's, A$AP Rocky, The Crafts Council, The V&A, Holon Design Museum and Triennale Design Museum. She has shown at design fairs including Nomad in Monaco, St. Moritz and Capri, and Design Miami in New York, London, Paris and Milan. She had her first solo show with Objective Gallery in New York in 2023, and has work in the permanent collection of Turkey's Odunpazarı Modern Museum.

Caitlin MacQueen (b. 1982, New Jersey, United States) lives and works in Los Angeles. She received her MFA from Rutgers University in 2015 and her BFA from Cooper Union in 2008. Recent solo and two-person exhibitions include: Fascination, Hannah Hoffman, Los Angeles (2024); Ciao! Manhattan, Mother Gallery, New York (2021); In the Rabbit Hole, Mother Gallery, Beacon (2018); and I’m an Agent, DAAB Space, Brooklyn (2018). Selected group exhibitions include: Lumps and Bumps, Rose Easton, London (2026); Hello, the Roses, Hoffman Donahue and Marc Selwyn Fine Art, Beverly Hills (2025); Painting All Together (Painting as Is IV), Michael Kohn Gallery, Los Angeles (2025); Glawr, Hannah Hoffman, Los Angeles (2025); Sweet Days of Discipline, Hannah Hoffman, Los Angeles (2022); The Hunch, Mother Gallery, Beacon (2020); and Tools, Totems, Traps, Mother Gallery, Beacon (2019).