Across CHG&S’s 2026 programme, we return to what is carried forward, what is obscured, and what quietly reshapes us over time. Transmissions brings that enquiry into the realm of signal and mediation: the images, scripts, and messages that travel through screens, institutions, and public life, and how these transmissions settle into the private self. In a world shaped by constant information flow, digital distortion, and shifting realities, Transmissions interrogates the influence of technology, surveillance, and virtual identities in contemporary culture. Through a fusion of painting, digital media, and immersive installation, Fox, Hennigan, and Keogh explore the psychological and political dimensions of the digital age.

Transmissions unfolds in two parts, beginning on 9 October 2026 with Beth Fox’s moving-image installation, Grateful Patients, at The Courthouse Gallery & Studios. A presentation by Frances Hennigan will follow, with dates and further details to be announced. Together, the two presentations explore how images, messages and stories shape our understanding of contemporary life.

Fox’s practice works across installation, drawing and moving image, building layered modes of storytelling that capture the strange textures of contemporary life online and offline. Her work can be grounded in personal essay and lived experience, exploring labour, anxiety and absurdity, while staying alert to the systems that organise behaviour at a distance.

Her work reflects on the enduring power of comforting lies. Her  moving image  installation presents, Grateful Patients, an experimental art film that will be presented as a 2-channel installation. One channel tracks the current rise of anti-medicine disinformation in online wellness spaces, the other follows a 19th-century medical charlatan whose patients remained loyal despite his exposure as a fraud. 

Frances Hennigan’s work sits at the intersection of celebrity culture and political narrative, using the visual language of social media and internet fame to interrogate how influence is produced and how “truth” is staged in a post-truth era. 

 Working across video, large-scale projection, painting and drawing, she draws from headline scandals, algorithmic trends, and manipulated imagery, where spectacle, scandal and misinformation circulate as culture.

Her practice stays close to the mechanics of attention, and to the way political messaging and “activism” can be performed through the rhythms of fandom, branding, and virality. Within Transmissions, Hennigan’s work brings the exhibition into direct contact with the public theatre of power, asking what

This exhibition will feature a mix of large-scale paintings, interactive projections, and installation-based works, transforming the gallery into a space where physical and digital realities blur. By disrupting narratives of authenticity, desire, and surveillance, Transmissions challenges viewers to confront the mechanisms shaping contemporary perception.