London in summer—a city that captivates art lovers like few others. Between the banks of the Thames, the green parks, and the lively neighborhoods of Fulham and Chelsea unfolds one of the densest and most stimulating art landscapes in Europe. Here you encounter not only the great institutions—the Tate Modern with its monumental Turbine Hall, the National Gallery at Trafalgar Square, or the British Museum—but also a vibrant scene of smaller, specialized galleries where works can be experienced up close, often in personal conversation with the gallerists. For admirers of realism and hyperrealism, London is already an El Dorado—and right here, in the Piper Building on Peterborough Road in Fulham, sits the Plus One Gallery.
Founded in 2001 and dedicated exclusively to contemporary hyperrealism and photorealism, the gallery has established itself as one of the most important destinations for this movement in Europe. Since moving into the predominantly residential Piper Building in 2018, it has offered a quiet, private atmosphere: visits are by appointment, the spaces are light-filled and unhurried, and there is time to truly look at the paintings. The proximity to Parsons Green and Fulham Broadway makes getting there easy, and after the gallery visit the neighborhood invites a stroll along the Thames, a coffee in one of the charming cafés, or a detour to the nearby galleries and design shops of Chelsea. For art lovers who prefer an intimate experience over the crowds, this is the perfect starting point for a London art day.
Right into these summer days falls the “Summer Show 2026.” The group exhibition brings together new and recent works by an impressive roster of international artists and celebrates the diversity of photorealism and hyperrealism. The movement, which emerged in the 1960s as a response to Abstract Expressionism, seeks to rival photography itself: the everyday is painted with breathtaking precision, surfaces gleam, light reflections and textures are captured in such detail that the viewer repeatedly wonders whether they are looking at a painting or at reality. The power lies not in the subject alone, but in its masterful illusionistic rendering.
Among the exhibiting artists are Johan Abeling, Alexandra Averbach, Javier Banegas, Paul Beliveau, Tom Betts, Pedro Campos, Andres Castellanos, François Chartier, Michael French, Christopher Green, Alexandra Klimas, Tom Martin, Johannes Wessmark, Dennis Wojtkiewicz, and Craig Wylie, among many others. The range extends from still lifes and landscapes to cityscapes, portraits, and sculptures.
Especially impressive are the works of Pedro Campos. The Spanish master of still life transforms everyday objects into things of almost sacred purity. On view in the exhibition are, among others, Four Peaches and a Bowl and Eggs X. His oil paintings glow; the surfaces seem touchable, and the precision he brings from his earlier work as a restorer lends the pictures a meditative power. Campos combines the clarity of the Old Masters with a modern, almost Pop aesthetic and makes the ordinary shine.
Equally fascinating are the sculptures of Tom Martin. The British artist plays with scale and perspective, creating in his “The Time Is Now” series sculptural arrangements of resin, porcelain, artificial flowers, and stainless steel. In the show are The Time Is Now XIX and The time is now XXI. These works feel at once hyperreal and surreal: familiar yet impossible. Martin rebels against mere photographic reproduction and creates situations that appear believable while simultaneously stretching the boundaries of reality.
Johannes Wessmark brings a sensual, lively note to the exhibition. The Swedish hyperrealist is known for his masterful portraits and figure paintings, in which he captures the texture of wet hair, skin, and fabrics with breathtaking accuracy. On view in the Summer Show are, among others, Azur Blue, Braided Beauty, and Wet Hair VII. The droplets on the hair, the play of light and shadow on the skin feel so real that one almost wants to reach out …
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