Hannah Rowan's ceramic torsos land at Limassol's Edit Gallery

On 18 September the Edit Gallery in Limassol opens a solo exhibition of ceramic sculpture by Hannah Rowan. It runs through 17 October. The show is titled "Carriers," and it hands the city's audience a month-long window onto a body of work that was made, in large part, on their own doorstep.

Opening night runs from 6:30pm to 9:30pm. One extended evening, then the gallery drops back to its usual rhythm. Those hours are worth writing down if you are planning a visit: Wednesday to Friday, 3pm to 7pm, and Saturday, 10am to 1pm, for the full five weeks the exhibition is up.

What separates "Carriers" from a touring show slotted into a gallery calendar is where it came from. Rowan made the pieces on display during a period of research and production based in Limassol itself. The city is in the clay, then, not simply the backdrop to it but part of the material process that produced these forms, and that distinction changes how the work should be read. Not an import. Something grown out of the place that now hosts it.

The sculptures take the shape of torsos, though not straightforwardly human ones. Some read as protective shells. Others resemble breastplates, or vessels built to hold something precious and fragile at once. Defence and containment, armour and cradle: the double register runs through the whole body of work and gives it its title. These are objects made to carry something, whether that something is a body, a burden, or simply the possibility of harm.

Underneath the form sits a set of recurring concerns. Motherhood, care and the vulnerability of the body are all present, alongside a persistent pull toward the natural world. Rowan refuses to keep the registers separate. She layers anatomical reference with marine texture, plant form, and glazes that catch the light like shell, so that a single surface can suggest skin, coral and leaf within the same few centimetres. The effect sits somewhere between figure and organism. Your eye never quite settles on one reading for long.

Timing, local production, the recurring vocabulary of shells and vessels: the exhibition reads as one sustained inquiry rather than a loose grouping of objects. Slow looking across repeat visits will reward a visitor far more than a single pass through on opening night. On Saturdays, the doors close at 1pm.