17/07/2026
Nettle Grellier
Nettle Grellier (b. 1993) graduated with a BA in Fine Art Painting from the University of Brighton in 2015, before completing the Turps Banana Correspondence Course in 2020. Grellier’s work considers the figure through several semi-autobiographical motifs: disobedient dogs, soft bodies and gossiping subjects. Taking inspiration from artists such as Paula Rego and Dolly Parton, she uses references across high and low culture to delight in unashamedly slovenly, feral and unpredictable womanhood. Based in Cornwall, and having always inhabited rural settings, she also examines the nature of gossip and storytelling as a small-town tradition.
Mothering Buns, 2026
Coloured pencil on acid free paper
79 x 64.5 cm
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Say When…
Layla Andrews, Jess Cochrane, Erica Eyres, Joana Galego, Nettle Grellier, Emily Ponsonby and Caroline Wong
Inspired by ‘The Woman Who Loves to Cook’ by Florence Nash, this exhibition gathers together seven artists in a cacophonic celebration of food as a tool for connection, belonging and sensuality. Within the context of a society that has historically encouraged women in particular to be smaller, the works call for an antidote to his messaging, choosing to regard food instead and a divine connection and intervention amongst women, a vessel with which to infuse ourselves with maternal love and care.
Contact [email protected] for more information or to request a works list.
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10 June - 31 July
Soho R***e
14 Greek Street
London, W1D 4DP
Wed—Sat, 12—6pm
Nettle Grellier
Nettle Grellier (b. 1993) graduated with a BA in Fine Art Painting from the University of Brighton in 2015, before completing the Turps Banana Correspondence Course in 2020. Grellier’s work considers the figure through several semi-autobiographical motifs: disobedient dogs, soft bodies and gossiping subjects. Taking inspiration from artists such as Paula Rego and Dolly Parton, she uses references across high and low culture to delight in unashamedly slovenly, feral and unpredictable womanhood. Based in Cornwall, and having always inhabited rural settings, she also examines the nature of gossip and storytelling as a small-town tradition.
It isn’t yours (