All Kinds of Oddkin

All Kinds of Oddkin brings together 15 international artists to Hypha Euston from 13 November to 12 December 2026. Spanning sculpture, film, performance, textiles and living installations, the exhibition and events programme invite visitors to get closer to the more-than-human, and to sit with the discomfort such intimacy might bring.

Leaky. Messy. Intertwined. We are already entangled.

Our bodies are porous and in constant exchange with our surroundings. The landscapes we inhabit, the microbes within us and the food we eat connect us to the more-than-human world. We depend on these relationships to live. What changes when interdependence is understood not only as a condition for life, but as a relationship of kinship? What responsibilities follow?

All Kinds of Oddkin offers intimate encounters with symbiotic organisms, unpredictable materials and shifting landscapes, exploring what it might mean to live alongside them as kin. Across the exhibition and events, the artists present care, collectivity and collaboration as forms of active resistance to extractivist practices that disrupt our ecosystems. Fermentation, storytelling, mapping and weaving become ways of grappling with adaptation, failure and the limits of human control. Archives, shorelines, railways and pagodas become sites of enquiry for tracing human histories, memory and transformation.

Drawing on Donna Haraway’s Staying with the Trouble: Making Kin in the Chthulucene, All Kinds of Oddkin considers the unexpected kinships we form with people, animals, plants, materials, landscapes and microorganisms. It asks us to consider the care and obligations that these relationships demand, as well as the uncomfortable truths we might confront.

Together, the artists in All Kinds of Oddkin resist the idea that humans are separate from the environments they inhabit. Instead, they propose a messier and more demanding picture of coexistence where dependency is unavoidable, reciprocity is necessary, boundaries are porous and kinship carries consequences.

The exhibition

The exhibition showcases 15 multidisciplinary artworks, and is structured around four questions that connect intimate encounters with wider ecological and political histories.

How do we live with, adapt to and learn from constant change?

Tracing the shifting edge of the shoreline, Issie Martin's etchings imagine speculative ways of living in flood. Kerttuli Uusimies invites visitors to consider memory, transformation and renewal through an endless cycle of dissolving clay. Steph Tudor uses mapping, fermentation and carbonisation to explore how pollutants are metabolised within landscapes and living bodies. 

What values should guide our interactions with other species?

Failure and slowness are foregrounded in Sol Bulteel's work with microorganisms and mushrooms, challenging extractive ideas of productivity and labour. Haoran Wu's living installation of kombucha culture and circulating water explores the symbiosis between bodies and bacteria. Seán Talbot's costumes, props and film examine the dairy industry, queerness and conservative gender politics, asking who and what is exploited in the name of production.

How do we tell stories with, and about, the species we live alongside?

Summer Auty's textiles and hand-woven rugs invite visitors to consider communication through storytelling between people and animals. Severina Dico-Young examines kinship amongst human and more-than-human through weavings and wood carvings, using immigrant and diasporic gardens as sites to untangle the inextricable link between climate change and colonisation. Aristeidis Lappas's oil and gouache paintings explore interdependence and the stewardship of shepherds.

What do the land and the archive remember about the harm we have done?

Snigdha Rana combines pinhole photography, stop-motion animation, drawing and clay to examine colonial subterranean networks in urban systems under climate change. Olivia Meehan’s photographs trace the afterlives of colonial railway infrastructure and its reinterpretation and reclamation by farmers and surrounding ecologies. Alson Zhao's etchings are inspired by the meaning and making of the pagoda and tracing cycles of time through the materiality of printing. Ruth Grimberg turns visitors’ attention to the archive, asking who is included, whose stories are preserved and what is owed to those left behind.