Words by Wendela Rang

193 Fleet Street is full of surprises. It houses a tax lawyer, a shipping company, a hairdresser, even a speakeasy – and since May, the contemporary art gallery Ashley Saville, founded by, you guessed it, Ashley Saville.

Up on the first floor, behind a wooden door bearing only a small silver pendant reading “Ashley Saville”, lies the snug yet airy gallery. Large windows fill the space with natural light, and there’s a warmth here that’s hard to put your finger on, but which meets you as you enter and stays with you when you leave. Not unlike Farringdon itself, a neighbourhood Saville was enchanted by for its architectural eclecticism: the whole chronology of London city in one place, blending futuristic highrises with centuries-old architecture.

The area reflects Saville’s own approach to arts and culture, and also programming: she describes it as “omnivorous”, pointing to an openness across disciplines and perspectives for upcoming shows. Her one rule? All artists shown must be London-based. “It feels more connected”, she says, noting that it helps close relationships to form, and allows her to be more involved along the way.

Moving Pictures by artist Jason Shulman is Ashley Saville’s inaugural show, running until 4 July. In Shulman’s images, as across Farringdon itself, time seems to layer rather than move on, almost like a reminder that time rarely behaves itself. Spanning a decade of long-exposure photography, time is compressed into single images: a feature film collapsed into one frame, famous on-screen kisses captured from first touch to last – and with the same logic also male ejaculations. Elsewhere, the assassination of John F. Kennedy is depicted in a saturated lenticular, suspending that moment into eternal repetition. It’s tragic, romantic, and absurd all at once.

Ashley Saville, 193 Fleet Street. Wednesday-Saturday 10am-6pm, and by appointment.