Mary Pye and Kubra Aliyeva

Gesture of Memories

February 5th 2026 | New Delhi

Gesture of Memories brings together the practices of Mary Pye and Kubra Aliyeva, two artists who approach memory not as narrative or image, but as something formed through gesture, material, and time.

Mary Pye

Mary Pye (b. 2001, UK) creates meditative, layered paintings that explore stillness and attentiveness. Her works emerge through a slow rhythm of deposition and erosion: layers of pigment are laid down, shifted, withdrawn, and allowed to settle over time. Each painting becomes a process of listening to what arrives, to what lingers, and to what asks to remain unseen. Approaching the canvas without a rigid plan, Pye works through openness and waiting, allowing form to unfold gradually. Her practice draws close to the monastic, grounded in the belief that perception sharpens through presence. Through delicate layers of colour and light, her paintings become quiet meditations, committed to seeing rather than simply looking. A graduate of The Slade School of Fine Art (BA, 2025), Pye made her debut solo exhibition Into the Future with Bvlgari in Mayfair, and her work is held in private and public collections across the UK, the US, and India.

Kubra Aliyeva

Kubra Aliyeva is an Azerbaijani artist based in London, currently studying at the Royal College of Art. Working across installation, sculpture, painting, and printmaking, her practice centres on the female body as a site of memory, labour, and transformation. Using materials that carry their own tactility and vulnerability, Aliyeva foregrounds processes of repetition, layering, and repair. These gestures echo forms of invisible labour traditionally carried by women, as well as the quiet resilience required to sustain both personal and collective memory. Her installations create sensorial environments in which memory is not presented as linear narrative, but experienced through the body—felt, worked, and held—anchored in traditions that continue to evolve.

This installation reclaims camouflage as a feminist act of visibility rather than concealment. The suspended forms are deliberately exposed, held in place by chains that reference both control and support. Instead of blending in, the work insists on presence, challenging the expectation that bodies, particularly female bodies, must adapt by disappearing. Here, camouflage becomes a strategy of resistance: making what has been trained to hide unapologetically seen.

Together, Mary Pye and Kubra Aliyeva propose memory as an active practice rather than a static archive. Through gestures of restraint and accumulation, erosion and repair, Gesture of Memories holds space for both stillness and labour, inviting viewers to consider how memory endures through acts that are often quiet, repetitive, and unseen.