The intimate world of art. Tom de Freston's latest exhibition, 'Poíēsis', is a poignant exploration of grief, hope and the human experience. In this show, the painter has delved into his own darkness, capturing the inner turmoil that came with losing seven pregnancies before the birth of his daughter, Coral.
De Freston's journey began as an act of empathy, a way to process his own grief without burdening his wife, novelist Kiran Millwood Hargrave. The paintings that emerged from this period were not intended for public consumption but were instead a means of catharsis in the safety of their domestic space.
These large-scale works are not posed photographs, but rather candid captures of the couple's life together during Millwood Hargrave's pregnancies. They exude a sense of love and reverence, with De Freston describing them as "ritualistic" – like spells or prayers. The paintings are not sensationalised; instead, they are tender and considered, imbued with a deep affection for the subject.
At the heart of these works is the male gaze, an idea that has long been contentious in art circles. De Freston acknowledges its presence but also challenges it, working from a place of vulnerability and mutual respect. Millwood Hargrave, meanwhile, sees herself as not just a muse but a collaborator, her voice integral to the creative process.
As we navigate these complex emotions, we are reminded that art is often an act of mourning – an attempt to capture something that is lost. De Freston's paintings do feel like elegies, their beauty tempered by the weight of grief. And yet, in the face of loss, there is also a profound sense of hope and connection.
The birth of Coral has undoubtedly changed De Freston's perspective, imbuing his work with a new sense of wonder. His paintings now feel more hopeful, infused with magical thinking – as if he's tapping into a deeper reality. They are no longer heavy with the weight of individual existence but instead radiate an otherworldly light.
For now, 'Poíēsis' will be on show at Varvara Roza Galleries in London from November 30th to December 20th, inviting us to step into this intimate world and experience its beauty and complexity for ourselves.
De Freston's journey began as an act of empathy, a way to process his own grief without burdening his wife, novelist Kiran Millwood Hargrave. The paintings that emerged from this period were not intended for public consumption but were instead a means of catharsis in the safety of their domestic space.
These large-scale works are not posed photographs, but rather candid captures of the couple's life together during Millwood Hargrave's pregnancies. They exude a sense of love and reverence, with De Freston describing them as "ritualistic" – like spells or prayers. The paintings are not sensationalised; instead, they are tender and considered, imbued with a deep affection for the subject.
At the heart of these works is the male gaze, an idea that has long been contentious in art circles. De Freston acknowledges its presence but also challenges it, working from a place of vulnerability and mutual respect. Millwood Hargrave, meanwhile, sees herself as not just a muse but a collaborator, her voice integral to the creative process.
As we navigate these complex emotions, we are reminded that art is often an act of mourning – an attempt to capture something that is lost. De Freston's paintings do feel like elegies, their beauty tempered by the weight of grief. And yet, in the face of loss, there is also a profound sense of hope and connection.
The birth of Coral has undoubtedly changed De Freston's perspective, imbuing his work with a new sense of wonder. His paintings now feel more hopeful, infused with magical thinking – as if he's tapping into a deeper reality. They are no longer heavy with the weight of individual existence but instead radiate an otherworldly light.
For now, 'Poíēsis' will be on show at Varvara Roza Galleries in London from November 30th to December 20th, inviting us to step into this intimate world and experience its beauty and complexity for ourselves.
. The way he's captured the emotions of losing multiple pregnancies is so raw and honest, it's hard not to feel his grief and hope at the same time. I love how his wife Kiran Millwood Hargrave has been involved in the process too - she's definitely a muse but also a collaborator 
. The paintings are like these intimate rituals, exuding this deep affection for life and love 
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. But at the same time, there's this otherworldly hope and connection that comes from it 
. Tom de Freston's work feels like a beautiful expression of that - his paintings are no longer just about him as an individual, but about the love and life they represent 
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. It's not often you come across art that feels so deeply personal and vulnerable, yet still manages to be hopeful and beautiful 
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I'm really intrigued by Tom de Freston's exhibition 'Poíēsis'. It takes a lot of courage to create art that comes from such vulnerability, especially when it's about personal struggles like grief and loss 
. The fact that he wasn't trying to impress anyone but just expressed himself honestly is beautiful 
. And I love how Kiran Millwood Hargrave is also an integral part of the creative process - it shows that relationships can be a source of inspiration, not just for the man, but for both partners 
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. The idea of art being a form of mourning makes sense to me, especially when you think about how we all experience loss at some point in our lives - whether it's the loss of a loved one, a relationship, or even just a part of ourselves 
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the way he captures his wife's life during pregnancy is so intimate and personal, i can almost smell the paint and feel the emotions radiating from the canvases... anyway, i'm definitely going to check out this exhibition in london - thanks for sharing! 
