
How Close Am I to Losing You
2024 Oil on Linen 70x50cm
Hold Tight
Tabula Rasa ∣ London
Solo Exhibition 2025
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Don't Talk About the Moon
2024 Oil on Linen 70x50cm
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Parallel
2024 Oil on Linen 70x50cm
Hold Tight

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All of Me
2024 Oil on Linen 70x50cm
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How Close am I to Losing You
2024 Oil on Linen 70x50cm
Heavy Lightness

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Hysteria
2025 Dye on Silk 68x53cm
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Reclamation
2024 Oil on Linen 60x81cm
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Protection
2025 Dye on Silk 53x53cm
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Safe In What Way
2025 Dye on Silk 53x53cm
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Stop the Bleeding
2025 Dye on Silk 53x53cm
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Move Us Forward
2025 Dye on Silk 53x53cm
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We're Gonna Be Alright
2025 Dye on Silk 53x63cm
Jesus Mode

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Misshappen Chaos
2025 Dye on Silk 33x43cm
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Slipping Away From Me
2025 Dye on Silk 33x43cm
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Depend
2025 Dye on Silk 33x43cm
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Arôme
2025 Dye on Silk 33x43cm
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Si
2025 Dye on Silk 33x43cm
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Thinking of Käthe's Lament
2025 Dye on Silk 63x53cm
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Remain Vigilant
2025 Dye on Silk 63x53cm
Hold Tight Essay
“…riffing on the tradition of portraiture and Christian iconography through the female gaze, with detours into psychology theories and the lived experiences of its subjects.”
Tabula Rasa Gallery is pleased to announce its inaugural artist residency programme and a solo exhibition ‘Hold Tight’, by artist Clare Thackway. The exhibition will open on 12 April at our London space and will showcase a new body of work developed during Thackway’s one-month residency in London (1 April – 1 May). The second phase of the exhibition will open on 26 April and remain on view through 13 June 2025.
Having exhibited widely in Australia and France, the Paris-based artist is known for taking a narratively fragmented approach to contemporary painting, carefully withholding the entire story. The sheer beauty of the imagery and evocative feelings can be appreciated with curiosity in these mise-en-scenès, along with the many meanings implied.
At heart, ‘Hold Tight’ is a suite of richly psychological works of its subjects’ inner lives, riffing on the tradition of portraiture and Christian iconography through the female gaze, with detours into psychology theories and the lived experiences of its subjects: friends, mothers, grandmothers, children, and the artist herself. On a naked body, a golden snake slithers forth, a form of imagery that alludes to female banishment and shame in the bible and transformation and enigma in the Chinese zodiac. Here the snake is reclaimed toward renewal, as though Eve is stepping out of paradise toward a more empowering—though uncertain—future. Held hands signal interdependence. Bruised oils are washed like watercolours and diaphanous silks carry entangled silhouettes in fluid magentas and blues.
Conventions of Western painting recur, but always with a twist: draped fabrics and crumpled blankets conceal and reveal bodies in suggestive folds, and stripes, once historically deemed diabolical and disordered, pulsate optically to point to the clashes in our collective inheritance. The subjects of Thackway’s portraits are vulnerable and interlocking; eras of life melt into one another across generations. Their gravity-laden bodies are entwined in love and tension, in uncomfortable arrangements of human need and family relations. These are images of giving and taking, needing and being needed, serving and being served, wanting love and reciprocation, reaching out and catching.