Gemor Press
Anousha Salehi
Fi Isidore
February 12 -
April 4
2026
Opening February 11, 6-8pm
Anousha Salehi
Fi Isidore
February 12 -
April 4
2026
Opening February 11, 6-8pm
Flexitron is pleased to present Gemor Press, a duo show of work by Anousha Salehi and Fi Isidore.
The stage is set. For aspirations both so astronomical and gnomic in scale we are left dizzy from the twang we get between the base, the personal, the financial, and the hellscapes in tow. We are consumptive , from the power of (insert your own) large slippery paintings - sometimes we don’t even notice! Though the name of the game often struggles to seem like something much greater, we are here concerned again with representations of slices of reality that are dealt to us piecemeal across time, through a hapless task we might call ‘experience’. How much interiority do you bargain for, generally speaking? In as much as artifice is concerned, I want you to pay special attention to the use of metaphorical “Bells and Whistles”. This construes a portion of a tantalizing spectacle which aims to usher in a sliver of ‘rubber-band-time’ into the room, added to the frisson shiver that might occur with a ‘dance’.
Being in a church when hungover. Is that feeling of deep power ‘real’? And is that besides the point? Whatever this spiritual feeling is, there is a touch of truth about it nonetheless, yes? A touch of destiny, as Calypso says in Pirates of The Caribbean 2. Think of these moments as holes. Now with these holes in mind imagine the emmental block of your life. A less twee option would be a large stone from the sea, with gentle alluvial-scrubbed holes in them, forming gaping worm-like passages through the body of the rock. Stitch these holes together in your mind, and form a lattice of connected moments. These wormholes collaboratively form many touches of destiny. Enjoy this.
It is the kind of sensation, I would argue, that art should produce. Meet me halfway! It is hard to insinuate yourself in the river of linear time. Even harder is to produce an object. Now imagine someone trying to ask whether your object is credible? So often these objects are discreet to the point of non-existence. But this kind of push and pull can be equally exciting. So which hill to die on? I hope none of them. None deserve it, to be honest. But here a cunning kind of bourgeois ambiguity can reign triumphant. And it farts around with serious aplomb. This is the stage I have tried to set.
I show my Doctor my fingernails and she exclaims ‘What an awful lot of art you have under there!’ Tons of it. And most of it plain nasty. I am stuck between attempting to personally sublimate with her via little jokes about my nasty nails and the frigidity of the GP’s office-cum-inspection chamber. I remember that the lucidity of a hangover is a double edged sword flashing on one side a deep, convivial potentiality, the other a dull side of pure shame.
Exhibition text by Alex Heard
1. Anousha Salehi, Will 2 teeth make a difference on a pinion gear?, 2026, Aluminium, Steel, Acrylic Paint, 68cm x 130cm x 5cm
2. Fi Isidore, Henry & June, 2026, Vinyl dance studio flooring, bells, plywood, 176cm x 173cm
3. Anousha Salehi, Drafting for Pin-Drums, 2026, Plywood, Aluminium, Acrylic Paint, 118cm x 118cm
4. Fi Isidore, Genre, Genre, Genre, 2025, Metre sticks, bells, club coat check tags, each 154cm x 4cm
5. Fi Isidore, The little “h” in Rhythm, 2026, Artists’ purse, annotated copy of Henry and June: From the Unexpurgated Diary of Anais Nin 1931-1932, dimensions variable
Biographies
Anousha Salehi
Anousha Salehi (b.2001, Coventry, UK) lives and works in London. She recently graduated with a BA in Fine Art from the Slade School of Fine Art, UCL, London (2025). Recent solo/duo exhibitions include ‘All or Nothing (to Play For)’ at Best Wishes, London (2025) alongisde Millie Rose Dobree. Group exhibitions include Les Diplomates, Gnossienne Gallery, London (2025). August Sundays, Pipeline, Online (2025).
Fi Isidore
Fi Isidore (New York City, 1998) engages with the codes and secrets encrypted within ornamentation, craft, and subcultural styles. She explores the spaces and rituales that exist in and around performance. Her first solo exhibition, Pomegranate Carved In The Round, opened at Larrie NY in 2022. She has participated in group shows such as New Contemporaries (Institute of Contemporary Art, London, 2025), Morphogenesis (Xxijra Hii, London, 2025), Haute References (Gnossienne Gallery, 2024), Either a or an Existential Risk (Deli Gallery, CDMX, 2023), Salon ACME (CDMX, 2023), and 27 Orchard (Larrie, NY, 2022) and residencies including the Tajo-Saenger Residency (CDMX, 2023) and The Lab Program (CDMX 2019). She runs B.Esperanza, a site specific curatorial project which staged its first edition, LYRICS, at the Barba Azul Cabaret in Mexico City in February, 2026. She received a MFA Fine Art from Goldsmiths University, London in 2025. She currently lives and works in London.