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Soft Interruptions, her second solo show at Flowers Gallery, turns ordinary objects, awkward gestures, and quiet visual accidents into something strangely unstable
The everyday is never as stable as it pretends to be. A shoe, a bar of soap, a horse, a pause, a room, a body caught mid-gesture — all of these things can seem perfectly familiar until something slips. Then the ordinary starts to look like a stage set for a dream you cannot quite explain.
That is the space Lisa Jahovic enters in Soft Interruptions, her second solo exhibition at Flowers Gallery on Cork Street, London. On view from April 30 to June 7, 2026, the show brings together conceptual photography and moving image, tracing the small fractures where daily life begins to tilt into unease, humour, and quiet surrealism.
Jahovic’s images do not announce themselves through spectacle. Shot on film and hand-printed, they have a slower, more tactile presence, allowing light, texture, shadow, and form to take on psychological weight. The photographs feel close to reality, but not fully obedient to it — as if the world has been nudged a few degrees away from sense.
Among the works is The Shoes Insist from 2026, an image of a horse wearing shoes. It is funny at first, then increasingly uncomfortable: a body made to adapt to a system that does not quite belong to it. Elsewhere, works such as Fertile, The Soap was Dry, The Pause, and Sprout continue that atmosphere of restrained absurdity, where familiar objects become charged with vulnerability, pressure, or symbolic unease.
What makes Soft Interruptions compelling is that Jahovic does not build a separate surreal world. She suggests that the surreal is already inside the one we live in. It appears in the way things are arranged, interrupted, misused, delayed, or made slightly too visible. A small shift is enough to make function feel strange.
The exhibition also extends into film, with three short works released alongside the photographs. Together, the moving-image pieces deepen Jahovic’s interest in atmosphere, rhythm, and psychological dislocation, placing her practice somewhere between conceptual art, cinema, and fashion-adjacent image-making.