Good Eye Projects 2026 @ Saatchi Gallery
Founded in 2022, Good Eye Projects is an artist-led residency programme that prioritises studio access, professional dialogue, and the time necessary to experiment. Hosting three residency intakes per year, the programme provides six artists per edition with free studio space and opportunities for studio visits, gallery tours, and public exhibitions. This exhibition brings together artists who participated in the programme’s third year of residency, drawing from its recent Autumn, Spring, and Summer cohorts. The diversity of approaches is not incidental; it is the result of autonomy.
Sophia Clausse, Staying, 110 x 93cm, Acrylic and collage on canvas, 2026.
A moment still, 70 x 100cm, Acrylic on paper collage, 2026
One of the first works that catches the eye is Blue-on-Blue, a painting exploring interconnection and infinity. Two shapes interweave in a chain, built through multiple layers of blue washes that create a monochromatic field. The surface carries a steady rhythm, while the looping forms imply movement without end. Nearby, a work on paper presents a very long Möbius strip flattened into the frame, a continuous loop with only one side and one edge, compressing material into a single plane. The gesture is conceptual yet restrained. Rather than declaring its meaning, the work invites contemplation. Its quiet persistence sets the tone for the exhibition: ideas unfold through process.
Lulu Wang, Puzzles, 60 x 80 cm each, triptych, drawing on paper with pastel, silver tape and spray with aluminium frame, 2024.
Whispers - A Secret Between Me and Me, 15 x 20 x 10 cm, 3D-Printed degradable polylactic acid (corn starch), 2024.
This depiction of motion continues in Lulu Wang’s works. In Breathing Through You, Wang transforms traces of bodily movement into imagined natural terrains using digital sculpting and 3D printing. The translation of gesture into landscape resists literal representation; instead, it suggests that the body leaves impressions that can be reshaped and revisited. Displayed alongside it, Puzzles (2024), a triptych drawing on paper with pastel, silver tape, and spray housed in aluminium frames, deconstructs motion into fluid fragments. Metallic accents interrupt softer passages of colour, creating a tension between control and release. The small sculptural work Whispers – A Secret Between Me and Me(2024)—3D-printed in degradable polylactic acid derived from corn starch—introduces intimacy of scale. The material choice underscores temporality. Nothing here is fixed; everything remains in flux.
Roudhah Al Mazrouei, The Rest (diptych), 145x120 cm, Oil on Canvas, 2025.
Where Wang works through motion and terrain, Roudhah Al Mazrouei turns toward ritual and cultural transmission. The Rest (2025)—a diptych in oil on canvas—draws from Emirati material culture, using pigment as a trace of touch and time. The paintings hold girlhood, tradition, and land as a living archive. Rather than presenting heritage as static reference, Al Mazrouei allows it to remain active within the gesture of painting. Colour becomes a carrier of memory. The surface registers contact, suggesting that history is something handled and passed down rather than observed at a distance.
Lau Yee Vanessa Fong, The Wandering Feast, 130 x 190 cm, Oil and Coloured Pencil on Linen, 2025.
Lau Yee Vanessa Fong approaches painting through myth and desire. In The Wandering Feast (2025), oil and coloured pencils drift across linen in shifting formations that resist stable figuration; bodies appear and dissolve. In Eros (2025), Fong draws on the myth of Eros and Psyche to construct a landscape shaped by longing. Desire is not illustrated as narrative but rendered as atmosphere, something that lingers, expands, and destabilises the pictorial field. Her canvases refuse containment; they operate in a register that feels both intimate and expansive, reinforcing the exhibition’s sense of individual inquiry.
Xinyu Han, Cinder Flakes in Late Autumn, 160 x 200 cm, Oil on Linen and Pencil 2025-2026.
Xinyu Han’s Cinder Flakes in Late Autumn (2025–2026) reflects on cultural memory and displacement through layered imagery drawn from historical ruins, ornamental wallpaper, and landscape. Elements drift across the surface as though untethered from origin. The painting suggests that images of the past fragment over time, leaving impressions that are partial yet persistent. Han does not attempt reconstruction. Instead, she foregrounds uncertainty, allowing absence to sit alongside presence.
Mark Burch, Detour, 85 x 105 cm, Oil on canvas, 2025.
Mark Burch’s Detour (2025) shifts the tone again. Influenced by film and queer imagery, the painting employs a double image to suggest an interior sequence of thoughts or fantasies. The work considers desire and discretion in relation to community, space, and safety. There is a subtle tension between what is revealed and what is withheld. Burch’s approach underscores how freedom of expression can coexist with caution, particularly when identity and visibility are at stake.
Lau Yee Vanessa Fong, Eros, 120 x 150 cm, Oil and Coloured Pencil on Linen, 2025.
What distinguishes this exhibition is its refusal to narrow itself into a single thesis. Instead, it trusts the intelligence of its artists and its audience. The works do not compete for dominance; they coexist, each unfolding according to its own logic. This breadth reflects Good Eye Projects’ commitment to granting artists the freedom to pursue what inspires them rather than conforming to market trends or thematic constraints. The residency does not impose coherence; it cultivates conditions for exploration.
The exhibiton is on show untill the 1st of March 2026 at Saatchi Gallery, Chelsea.
Amelia Holdsworth,
Reviews Co-Editor, MADE IN BED