Female Artists Of Tomorrow: Celebrating upcoming female art graduates at The Hari London. In collaboration with Woolff Gallery

FEATURED ARTISTS:

Anastasiya Levashova

Aneira Thomas

Apolline Bokkerink

Chantel Okwesa

Charlotte Lloyd

Emilia Ashby

Helena Lacy

Jee Hee Kim

Jess Beaton

Lacey Ferri

Libby Bove

Lindsey Macadie

Nina Ogden

Anastasiya (Nastia) Levashova was born in Kyiv, Ukraine, in 1993. A curious child, she began creating from a young age, drawn to the world of making. Her work is inspired by Ukrainian traditions, childhood memories, and fleeting moments of déjà vu that evoke a sense of timelessness. Her artistic journey led her to London, where she continued to explore and refine her craft. After graduating from Camberwell College of Arts in 2014, Nastia collaborated with prestigious luxury brands, bringing her creations to prominent platforms.

In the summer of 2024, she completed her Master’s degree at the King’s Foundation School of Traditional Arts, an experience that deepened her love for traditional techniques and the stories they hold. Nastia has a special passion for working with clay, finding joy in the tactile experience of shaping it. Her ceramic pieces often incorporate natural pigments and textures, bringing out a nostalgic quality that resonates with memories and the earth itself. Through her creations, Nastia hopes to evoke a sense of wonder and reflection, inviting viewers to reconnect with their own experiences. Endlessly curious, she draws on life’s quiet mysteries to inspire others to see beauty in the familiar and unexpected.

Aneira Thomas’s work draws attention to the intricate patterns and textures found in the natural world, celebrating details that are often overlooked. Her paintings focus on organic rhythms—such as the veins in leaves, the ripples of water, or the textures of bark—inviting viewers to engage with the quiet yet enduring beauty that shapes our environment.

Thomas’s process is integral to her practice, encouraging a sense of slowness and reflection. By making her own paints and materials, she deepens her connection to the work, creating pieces that embody care and intentionality. Working with oil paints and distemper, she builds her surfaces through a careful layering process, allowing textures and repeated forms to emerge gradually. Her use of bold, vibrant colour emphasises these natural elements, while the interplay of pattern and texture mirrors the harmony and complexity of the natural world.

Through this approach, Thomas transforms the familiar into something deeply resonant. By honing in on the intricate details of the everyday and embracing a process rooted in slowness and attention, her work inspires a renewed appreciation for the beauty and complexity of the natural world, offering a space for reflection and connection.

Apolline Bökkerink draws the atmosphere out of a forest. Effervescent, dark and magical, her drawings recapture a feeling of being immersed in the landscape. Evocative of the larch forests where she grew up, each one is tinged with a sense of longing for the wild. Her process of casting textures is iterative: she works from memory, blowing shaved charcoal onto the page before rubbing out and drawing in impressions of bark, branches, snow and frost from the debris. Each drawing traces the disappearance of natural spaces from memory, and the collapse of a clear transition between real and remembered. Titled after the songs which inspired them, they transport us to our own encounters with the remote.

Chantal Okwesa’s practice is concerned with uncovering the emotional capacities of painting and how they can be sourced. She is an oil painter with an interest in abstract expressionism, specifically the works of Joan Mitchell, Jade Fadojutimi and Rachel Jones. She’s searching for the bridge between feeling and affect within emotional expression, how can a painting turn from emotional to visceral? Is it in the action of painting or seen through the keyhole of retrospection? I’m interested in Linda Nochlin’s idea that gesture stands as a direct link to the psyche of the artist.

One of the main roots of her practice is the idea that painting can be a translation of language, that it can be used in a diaristic sense as a way of expanding feeling in a new dynamic way. She is interested in how that idea stands when there is no context of the original emotion. Are diaries fleeting feelings? Is it the job of the reader/viewer to give them both meaning and context? She’s also interested in the idea of the diary as a myth, both sit outside factual reality and gain authority in their job of presenting an account. She wants to delve into how emotive painting can become the mythologising of experience. She wants to archaeologically pull apart the idea of painting, finding out if painting becomes the act or a question.

Through floral and silhouette imagery, Charlotte Lloyd explores the peculiarity of nature within her artistic practice. Her work demonstrates an admiration for the intricacies of floral forms, as well as a curiosity of what happens when these forms are reduced to mere shape. This creates a visually-striking contrast within her paintings, and seeks to make the viewer consider nature’s ability to be simultaneously familiar and unpredictable.
She achieves her highly-worked surfaces using acrylic and oil paint. During her time in higher education, Charlotte became fascinated by the craft of canvas-frame making, and explored contemporary approaches to this practice. It was at this time that she felt inspired to employ these methods to create oval shaped canvases – all of her ovals are completely handmade using softwood and MDF. The painting is viewed as a unified structure, and careful attention is given to the surface, edge, and frame.
Charlotte completed her BA Fine Art (Hons) at the University of the Creative Arts, Canterbury. Since graduating, she spends her time cultivating her practice from her home in Medway, and has participated in various art exhibitions. Most notably, her work was featured in the Graduate Art Show in October 2023 at the Woolff Gallery in Central London. Charlotte is also a member of Ashford Visual Artists, a diverse collective of artists in and around Ashford. This has created opportunities to exhibit locally within Kent.

Emilia Ashby creates distinct and striking imagery, developing a consistent visual language which is rooted in her artistic practice. Her projects explore human connection through artificial intelligence, religion and mental health using portraiture and fashion construction.

Her work with brands and magazines has allowed space for collaboration and creativity between herself and the client as well as the teams working on the projects. She brings her bold visuals to each project and helps the client’s vision emerge through her lens.

Helena Lacy is a London-based ceramic artist who creates sculptures and one-of-a-kind furniture pieces. Her work is driven by a deep curiosity for how materials interact and transform, particularly in ways that replicate natural patterns. Her practice reflects a balance between structure and unpredictability, exploring the contrast between flow and form. Fascinated by natural movements and distortions, Lacy experiments with glazing and print techniques that mimic the flows of water, lava, and other elements in nature, using the kiln as a second conductor to balance control and spontaneity.
Lacy’s fing ō furniture range reflects her fascination with natural forms. The name fing ō, derived from the Latin meaning to form, shape, and touch, captures the essence of her designs—small, sculpted pieces that feel as though carved from cliff faces. Inspired by the shape and weight of a beach stone from the Jurassic coast, each piece is crafted to hold just one: one cup of tea, one book, one piece of jewellery. Through this range, Lacy explores the intimate connection we share with objects in our homes, encouraging moments of self - calming, slowing down, and re-grounding ourselves.

Lacy recently completed her Master’s in Ceramics at the Royal College of Art, building on her degree in Technical Arts and Special Effects from Wimbledon College of Art. Lacy’s recent MA project, Object Narratives, explores the relationship between natural objects and their environments. Each sculpture is inspired by a found object, with map-like markings applied using innovative glaze printing techniques to reference its location. The project highlights nature’s often-overlooked details, revealing the unique histories within each object while showcasing the interplay of flow and form.

Jeehee Kim is a sculptural painter who lives and works in London. She earned her BFA at Hongik University of Seoul and was recently awarded an MFA with distinction from Goldsmiths, University of London, demonstrating her strong theoretical research and polyphonic art practice.

She focuses on understanding the world through the unique patterns and rhythms that emerge as the "i" encounters the multitude of “you"s. This exploration is rooted in the artistic enquiry into how different entities within chaos form rhythmic landscapes (paysages Mélodiques), acquire subjectivity amidst chaos, and continuously engage in acts of creation, revealing the fundamental strength of humanity. She reconstructs rhythmic landscapes as visual-auditory works based on the methodology of 'sculptural painting' that crosses the boundaries between the two and the three-dimensional, and the concept of 'sonic agency' that sound can act subjectively in social and cultural contexts. Through this, she ultimately aims to build ‘the second landscape’ where the audience, the work, and the space resonate together.

Jess Beaton is a current Fine Art student at Loughborough University in her final year. Her practice explores the concept of sensory communication through a continuous process of paper cutting. The work is made from tiny pieces of spike-like paper which are cut and hand painted with watercolours to achieve a vibrant colour palette. The overall aim with her artwork is to share a detailed representation of molecular forms while exploring illusion as a way of expressing depth of colour and vibrancy.

Lacey Ferri is a craftsperson from upstate New York. She is a graduate of Houghton University, New York, where she received her Bachelor of Fine Art in Studio Arts, concentrating on ceramics and furniture design. Afterwards, she volunteered for a year and a half on building restoration projects in Ireland, Scotland, and France. This hands-on experience and growing knowledge of traditional materials and their historical uses fired her curiosity for historical architectural interiors, fittings, and furniture, became interested in surface ornamentation and design. She spent four years in Oxford, doing further study and freelance commissions of architectural drawings and prints for several colleges and the Bodleian libraries.
In 2022 Lacey moved to London to study at the King’s Foundation School of Traditional Arts. She graduated in the summer of 2024 and now works in the applied arts using traditional methods of making. Today, her work is about preserving traditions in craft, researching and recovering historical patterns and designs, and using natural, handmade and repurposed materials whenever possible. This includes handmade pigments, recycled wood, and plant-dyed papers.

Libby Bove is a multi-disciplinary artist, designer, and folklorist. Her work is centred around ideas which reposition folk custom and magical practice back at the forefront of daily life. Drawing on archival methodologies and documentary, her work slips between fact and fiction. By employing traditional craft processes, plausibility is woven into constructed myths; transposing ideas of ancient customs, traditions and rituals into incongruous contemporary settings, non-existent pasts, and speculative future landscapes.

Working across a range of media including ceramics, textiles and found objects, she creates sculptural works, masks, and wearable costume pieces. These physical elements are brought together through performative photographic tableaux, where they become visual narratives that evoke both archival documentation and surreal fever dreams. Authenticity, and the potential for the work to be believable, is integral to her practice; physical works are often accompanied by ‘field’ recordings, ‘documentation’ of folk songs, and descriptive ‘historic’ texts, all aimed at crafting a palpable form of surround sound storytelling.

A central theme within her practice is Roadside Magic, an imagined construct where plant knowledge, magic and ritual play essential roles in the repair and maintenance of vehicles. Inspired by Albions rich history of folk magic, alongside her own lived experience of life on the road, both professionally and domestically. Roadside Magic, seeks to re-establish the valuable role of everyday ritual.

Lindsey Macadie studied MA Photography at the Royal College of Art (2023-2024) and BSC (Hons) Fashion at Heriot-Watt University, School of Textiles and Design. Her work has been recognised as the selector’s choice source magazine graduate edition, long-listed for the Lewisham Arthouse Award 2025, Analog Sparks International Film Photography awards, bronze winner in the Fine Art/Conceptual category. In 2024 she received a special mention for the Lab Awards from Labyrinth Photographic and SW Darkroom at the Graduate show.

Film is renowned for deception, trickery and illusion; and Nina Ogden’s experience working within the industry feeds into her fine art practice. These simulated modes of reality leave her questioning where the truth of what we see really lies.
Through the lens of Baudrillard’s notion of ‘simulation’ and the ‘hyperreal’, she is exploring the possibilities of truth versus trickery and the physical world converging with the virtual.
Assuming the role of a product photographer, she styles household ingredients and discarded packaging together with sculpted forms. These worlds are then photographed and rendered in oil paint on wood. The panels take on a scenic architectural existence.
The process of painting enables her to give attention to and elevate the mundane. She continues to question the transition from photograph to painting. The alchemical, physical quality of paint forces me to make new decisions and therefore, resolve problems. Pigment connects my work to the earth. She is spreading mud on a surface and the meditative act of this transports her to another world. She uses light, from lens flare to a glistening twinkle, to reveal, highlight, break boundaries and observe. She experiments with thin layers of paint and coloured grounds to achieve a glow.
She’s driven by a need to understand the human condition, our connection to nature and the consequences of such a relationship for our future existence in this unpredictable, fragile world.