We are pleased to present ORGANICS, an immersive experience developed in collaboration with sculptor Jill Berelowitz, painter Helena Traill, and Harvey Horswell Ltd.
ORGANICS brings together a new series of sculptures by Berelowitz and landscape paintings by Traill, each work centred on the significance of the organic world and its generosity to humanity. The featured plants are species that have sustained human life across millennia and will continue beyond us, both through their own evolution and through their translation into enduring artworks. ORGANICS will be hosted at the historic Morris Singer Foundry in Alton, Hampshire, just outside London, where visitors can witness molten metal being poured into moulds and follow the first painted layers through to the completion of the canvases.
ORGANICS forms the opening chapter of the Immortal Garden Series: a curated programme of immersive events and exhibitions inviting audiences to follow the making of a cohesive body of work capable of inhabiting both garden and home. To stay connected, you are warmly invited to follow our Instagram accounts and websites or join our mailing lists for previews and early access to events.
Jill Berelowitz www.jillberelowitz.com | @JillBerelowitz
Helena Traill www.helenatraill.com | @HelenaTraill
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Artist Biographies
Jill Berelowitz, born in Johannesburg, South Africa in 1955, is one of London's most recognised sculptors, renowned for her sculptures placed across the capital. Berelowitz's high-profile public commissions include the "Diving Girl" at the entrance to the London 2012 Olympic Village, "Core Femme" outside Charing Cross Hospital, the “Dorchester Sphere”, a majestic 2.6-meter tall bronze globe celebrating Queen Elizabeth II's Platinum Jubilee on Park Lane, London and the ‘Hallway Companion’ at 5 meters high in the central space of George, Mayfair, to name just a few.
Throughout Berelowitz’s work there is a duality always present, from her patinas to how she treats her subject. She focuses on two themes - the feminine form and organic shapes. Her female forms are almost ethereal in their sinuous shapes, but with strength showing from within their jagged edges or bright reflective surfaces. Each piece combines the fragile sensuosity of womanhood juxtaposed with the expert manipulation of her medium - the pure understanding of what can be achieved in bronze, reflecting back in bright patinas the unbreakable strength of women. Whilst, her organic series, perhaps influenced by the ancient and wild landscape of her youth, at first appears disconnected from her figurative work. Smaller fragile forms have now become monumental but then you see that these ‘organics’ are caring for humanity. The message is hidden at first, until you understand that all of her organic works provide humans with sustenance or natural medicine, which we are only now starting to remember once more. By changing the scale of our organic surroundings, she highlights the ancient prehistoric elements in petal, leaf or curve but with a startling modernity in their scale and patinas - they will survive into our far future but come from before our time.
Berelowitz is a rare sculptor today, in that she loves her main medium bronze and because she works alongside the artisans in one of the best foundries in the world, her works push beyond what most modern sculptors can achieve today. There are no heavy, one dimensional patinas on her work, but subtle washes that glimmer with bright colour, with areas where pure bronze is allowed to shine through in all its purity. There is a mastery here which we are unlikely to see again, which we haven’t seen since artists in the nineteenth century ran their own foundries within their ateliers.
Berelowitz has a pureness of empathic soul, which on meeting her you cannot miss but in her work her sensitivity to our world forms deep connections with the viewer.
Helena Traill is a contemporary oil painter whose work sits at the meeting point of post‑impressionism, expressionism and lyrical abstraction. Working between urban and rural environments, she translates lived experience into colour‑driven, emotionally charged landscapes that are as much about memory and sensation as they are about the physical place. Her works are best described as ‘multi-impressionism’.
Rooted in the impressionist tradition of working en plein air, Traill begins by observing directly in the landscape, but her finished paintings are then worked on in the studio and reconstructed from both the memory of the moment and the more reflective memory time has provided. This process places her work in a distinctly post‑impressionist lineage: like painters who broke from strict naturalism to pursue structure and feeling, she uses what was seen as a starting point for what is later felt.
Her work is described as resembling “a thousand snapshots collapsed into a single image”, Traill’s paintings function as multi‑temporal impressions – at once of the moment and of later reflection. The scenes feel as if glimpsed while passing quickly by, then reassembled through memory, intuition and time. This layering of temporal experience resonates with current conversations around memory, neurodiversity and multi‑sensory perception in contemporary painting.