Alexander Mourant is an artist, educator and writer based in London. Bruises presents a glimpse into a farm workshop, and is part of an ongoing, meditative project on Mourant’s family farm as it approaches closure. The workshop, a site of maintenance and repair, is considered as an allegory to the mechanics of the human body and psyche, developed initially in response to chronic illness and queer theory. A series of silkscreen works facilitate a dialogue between ‘parts’ and ‘wholes’, as the body finds resonance with industrial space, photography and sculpture. Mourant reenacts methods of panel cutting, storage and repair at the workshop, combining photographic silkscreens on aluminium and steel. These works consider photography from a variety of positions: as an investigative, museological tool, documenting mechanical objects, machines, and industrial detritus; and metaphysically, as a spatial and phenomenological encounter. By gathering often anonymous objects, Mourant emphasises the photographic as accumulation, creating analogies of industrial readymades and organic body parts.

In Potato Theories, Mourant has made metal casts of Jersey Royal Potatoes from his family farm, in various stages of growth. Aluminium-cast seed potatoes (‘The Promise’, 2025-2026) and bronze export potatoes (‘Imago’, 2025-2026), are put into dialogue with each other, representing the beginning and end stages of potato cultivation. The sculptures immortalise the ephemeral and suggest the potential for the objects to transform infinitely. The potatoes cast are the last crops produced on the farm, and become a memorial for generations of farmers. Mourant considers temporality and duration through the various stages of potato development, and proposes an analogy to the life cycle of images.