Arts Programme

Following the closure of Londonewcastles original project space in Shoreditch, after a successful eight years, the new and more intimate Gallery 46 has opened in Summer 2016.


We started our Arts Programme because we’re passionate about more than just property. Our aim: to bring London’s creative community and its vacant spaces together, giving new artists a place to showcase their work. If you are interested in exhibiting, please contact: - Follow the Arts Programme by liking our Facebook page.

BEATRICE BROWN at Gallery 46

Produced on her kitchen table while her children slept, Beatrice Brown’s drawings are a...
LN Gallery46 27 09 2016 LowRes 11 580x326 - Gallery 46 - Whitechapel

Gallery 46 – Whitechapel

46 Ashfield Street, London, E1 2AJ

Gallery 46 in Whitechapel is our new sister gallery to be used as Londonewcastle Project Space. The new space, established through the partnership of Martin J Tickner and Sean McLusky and Fruitmachine founders, Martin Bell & Wai Hung Young breaks fresh ground for the open-source, non-conformist curatorial approach Tickner and McLusky employed at their (rightly) notorious MEN Gallery, in Shoreditch.Housed in a pair of newly renovated Georgian houses in the grounds of Whitechapel Hospital, GALLERY 46 is set over 3 floors and 8 rooms and is a kaleidoscopic addition to Whitechapel’s burgeoning gallery scene and close by its artistic...

img 580x326 - Street Art Programme

Street Art Programme

Shoreditch, London

Our Street Art Programme is about turning over large canvases on buildings under our control – during planning and development – to artists, from the internationally renowned to the completely unknown. If you’d like Londonewcastle to showcase your work, contact us...

Self Reflection is greater than Self Projection

29 Mar - 30 Mar 2012

A new installation to be presented by [INSA][1] and open for one evening only.

INSA's latest installation work is his most obviously paradoxical to date. Having built the INSA brand reiterating issues of the female body and commodity fetishism, here, amongst a swirling cacophony of bikini clad women and chrome the audience is assured that *‘Self Reflection is greater than Self Projection’*.

The abstract installation unfolds itself across the floor and wraps itself around four large walls each measuring 4 x 10 metres; the printed imagery is a maelstrom of spheres reflecting two of INSA's iconic women thriving amongst the chaos. The optical illusion created by the digitally printed wallcovering melds the walls into one another to encircle the viewer in this alternative and disarming reality. Alluring and grotesque in equal parts, INSA’s work once again challenges our notions of attainment and success, questioning our image and money obsessed culture and our own culpability and complicity in it. Even if we want no part in it, can we ever avoid being voyeurs of these two girls and the INSA bubble they live in? 

*‘Self Reflection is greater than Self Projection’* is loaded with the iconic themes familiar to INSA's work: the idea of success and the innate conflict of whom we really are and what and who we wish to be. Glimpses of a black and white stripped background behind these spheres hint to some sort of superseded purity, albeit briefly, as the irrepressible foreground pushes its way back into focus.

It’s clear that success in this world is measured unequivocally by fame, sex, money, and beautiful women in high heels. To his considerable credit, and with no little degree of irony, INSA’s constructed reality has created an artistic brand as synonymous with attainment and success in the real world, as the oiled and pouting women depicted in his imagery. 

This world is a hyper-reality, in contrast to the artists own lifestyle, but one in which his fans across the globe often go to incredible lengths to take part in. In Spring 2011 the artist announced an open competition on his website,, where people were asked to swap something in return for a limited edition INSA and NIKE bootleg t-shirt. Epitomizing the cult appeal and fervent fervor surrounding his work, the successful winners included those individuals who tattooed their bodies with INSA artwork and one who named their first born child under the artist’s moniker. .Another one of the successful participants, Francesca Selby from Papergraphics donated the digital printable wallcovering, **Digimura** ([][2]) that provides the canvas for INSA’s latest installation, a very generous swap that finds herself uniquely at the heart of INSA’s coveted and immersive world.

It may not be obvious at first glance, but when meditated upon INSA’s work is an astutely calculated critique of society, commodity fetishism, and many of the ardent cravings of life in the 21st century. He throws our desires in our face and tells us to love them and become them, while at the same time trying to hope that there must be more to our life than this. 

It’s for this reason that INSA’s oeuvre, and this latest installation in particular, are crucial components of contemporary cultural criticism today. 

**About the artist:**

INSA is a fine artist and designer who has established himself from a graffiti background through extensive street level work and gallery shows in London, New York, LA and Hong Kong. INSA has always explored different approaches and outlets for his artistic agenda, including designing signature collections for brands such as Kangol and [NIKE][3], as well as producing bespoke furniture, custom cars and starting his own high heel company [‘INSA HEELS’][4]. Other recent career highlights include directing a short film for Channel 4 shown on Valentine’s Day 2012; exhibiting his elephant dung high heels as part of [Chris Ofili’s retrospective at TATE Britain][5]; and sculpting a room in the world famous [ICE HOTEL][6].

INSA’s work, contrary to some at first glance, speaks to an inquisitive and informed viewership. His beautiful women, large bottoms, oiled skin, gold chains, high heels or name brand sneakers serve as modern icons and symbols of our lavish, unsatisfying, and money obsessed lifestyles.

A critique of excessive consumer culture and commodity fetishism that is represented throughout INSA’s work as the objectified female body- he uses the inherent “want” of humanity in this most modern context to question whether this is the real route to happiness. Often with a heavy sense of irony, and self-awareness INSA explores the contradictions of striving for money, success and happiness.