Beauty in Repetition

Date: 14 Oct 2026

Karen Jones

Featuring new work by Hitomi Hosono, Kate Malone and Junko Mori

This autumn, Adrian Sassoon presents ‘Beauty in Repetition’, a group exhibition featuring new work by three of the gallery’s most revered artists whose distinctive practices share a fascination with the transformative power of repetition; Hitomi Hosono, Kate Malone and Junko Mori.
On view from 19 November–18 December at Adrian Sassoon’s gallery space in London, the exhibition marks a significant moment in the artists’ careers, not only celebrating their exceptional skills, but also the collegiate respect and longstanding friendships that connect them.
Hosono, Malone and Mori possess highly idiosyncratic visual languages, yet their engagement with repetition reveals a profound affinity across their respective crafts. For each artist, the repeated act of making is meditative and transformative; inviting contemplation, discovery and growth. Nature also serves as a vital point of departure; as elements accumulate, repeat and mutate through simple gestures, they develop into
complex, rhizomatic structures that organically grow, aggregate and proliferate like natural forms. As Adrian Sassoon observes, “Each artist has a distinct style and visual vocabulary, yet the notions and processes surrounding repetition endure throughout, remaining central to their practice.”
In her work, Hitomi Hosono creates hundreds of individually designed and meticulously observed porcelain leaves and flowers, drawing on a technique pioneered by Josiah Wedgwood called sprigging. Carved, refined and manipulated, these delicate elements are layered over a thrown form to create extraordinarily intricate ceramic compositions. The repeated action of making each element that she refines, curves, twists enables Hosono to develop an ever-deeper relationship with both the clay and the natural forms that inspire her. She is driven by a continual desire to capture the essence of nature’s beauty. The quiet, repetitive rhythm of her hands induces a calm and contemplative state, creating space for memories of her native Japan to emerge and inform her designs, transporting both artist and viewer to another place. In this sustained act of observation and making, repetition becomes a way of slowing time, allowing attention to deepen and unexpected possibilities to emerge.
Kate Malone similarly recalls entering a hypnotic flow state through the intensely repetitive actions that underpin her artistic process. Her ceramic practice explores the vitality and abundance of the natural world, drawing on forms such as fruit, seed pods, flowers and geological structures. Through repetition, layering and accumulation, these organic references are transformed into richly textured vessels and sculptural works that evoke processes of growth, proliferation and transformation. The preparation of clay and glazes is itself highly repetitive and rhythmic: spiral-wedging soft clay, rolling slabs, cutting coils and sieving wet glaze are followed by the precise production and application of the individual clay elements added to the vessel. The sustained physical engagement required by this process demands intense concentration, allowing Malone to enter a dreamlike state of consciousness that she describes as an almost addictive feeling of ‘intense pleasure’. The physical discipline of her process consequently becomes inseparable from its psychological effect, with the rhythm of making providing a means of absorption and escape.

Working primarily in metal, Junko Mori’s practice explores the organic interplay between nature, growth and repetition, transforming painstakingly repeated acts of making into detailed, biomorphic sculptures that appear to grow organically. For Mori repetition functions as a continuum, embodying time and accumulated knowledge while allowing each successive gesture to build upon what has come before. Beginning without a predetermined design, she is guided by the infinite variations inherent in each act of hand forging and welding, allowing her sculptures to develop instinctively and responsively. What emerges is not a process of replication but one of accumulation and discovery: however disciplined or methodical the action, each gesture retains the possibility of
difference, ensuring that uniqueness persists within the repeated act.

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