In Between
Hermine Patch
2–7 July 2026
Essay by Sophie Nowakowska
There are rooms that do not seem to belong to any city, any hour, any ordinary day. Hermine Patch photographs those rooms, and the figures who find themselves inside them. Slovakian-born and based in London, she presents In Between, a selection of images that feel less like pictures of places and more like places themselves, holding the people within them suspended in time.
Her eye is shaped by architecture and design, by the cool geometry of interiors and the strange promise of science fiction. A photograph often begins with a real space she has searched out, somewhere that already holds a feeling she recognises. Other times the feeling comes first, and the right room appears to meet it. Within them, a figure waits, or a group gathers, alone together, as if caught between one moment and the next.
What she is really after is stillness, and the things that stillness uncovers. We have grown afraid of being alone with ourselves. We fill the silence, we keep moving, we mistake busyness for living, and in all that motion something in us goes unmet. Patch slows the world down. She makes a space where time loosens its grip, where the present moment becomes wide enough to stand in. The people in her images seem to know this. They are simply there, held in a pause, and whether one or many, each remains turned inward, alone inside the same quiet.
And when the motion stops, something surfaces. There is peace in her work, but it is not an easy peace. It is the kind that lets buried feelings rise, that holds calm and discomfort in the same frame, that lets a person be both at rest and exposed. To be in between is to float without gravity, to be held and unanchored at once, present and adrift, found and a little lost. Her figures live on that threshold, the border where a person meets the parts of themselves the noise usually hides.
In a world that never stops speaking, In Between offers a silence you can enter, and a moment long enough to find yourself in.
The Last Day on Earth
The discovery of ‘The Futuro House’ - a UFO shaped holiday retreat, situated in the remote English countryside inspired and initiated this body of work. Originating from the 1960s era of space-age living, its round, symmetrical and minimalist interior represents an ideal of a tranquil, remote home. This search for a place of silence and peace devoid of distractions or interference from the outside world is a recurring theme in Hermine’s work.
‘The Last Day on Earth’ is a fictional narrative taking place in and around the house portraying two humanoids reaching the end of their days. Confronted by the reality of their impending departure and the limited time on the planet, they find solace in nature, each other’s company and the pure act of being. Within the simple moments and activities, they discover profound meaning, enjoying the detailed observation of a leaf or the embrace of a tree. Weaving together the passage of time, organic elements and human connection, the work serves as a testament to life’s abundance within its limited span.
The Last Day on Earth
Drawing inspiration from Craig Barnes’ fully renowned Futuro House currently located in Marston Park, UK, “The Last Day on Earth” portrays a fictional story of two human-like aliens reaching the end of their days on planet Earth. When time is realised as a limited resource, the simple, seemingly ordinary moments in the heart of a forest gain an entirely new significance for them. The natural elements and activities sparking emotional human connection are a vital part of the work, representing the abundance to be experienced and appreciated in this finite lifetime.
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