People sometimes ask how galleries actually find new artists in London. From my side it feels less organised than the articles make it sound. Curators come to open studios, they walk the smaller fairs, they follow a few Instagram accounts, and they notice when something looks different from the last twenty things they saw.

I’ve had a few visits here in West London. Most of the time they want to see the process as much as the finished board. They ask about the shuffle, whether I keep the original deck intact (sometimes I sleeve cards for commissions so they can come apart later), and why there are no editions. I explain that once the cards are fixed the piece is the only version that will ever exist. That scarcity seems to matter to people who are thinking about collections rather than just decoration.

The Inimitable series and the Fantasy pieces (Wicked, Avengers, the Star Wars ones) have been useful because the themed decks already carry recognition. The arrangement is still pure chance, so the work sits between pop reference and something more abstract. I don’t try to force a narrative onto the cards. If a face card lands in an odd place it stays there.

What seems to register with gallerists is that the method is repeatable even if the result never is. I can talk about it clearly, show the documentation, and the object itself is large enough (A1) to hold a wall without needing explanation. London has a lot of strong painting and photography. Assemblage that uses an everyday object this directly is less common, so it gets noticed when someone is looking for something that isn’t another canvas of brushwork.

I’m not waiting for a single gallery to discover everything. I’m just keeping the work consistent and the notes honest so that when someone does look they can see exactly what it is.