Til All Is Correct

Til All Is Correct is rooted deeply in personal history. Louise traces her own ancestral lineage, including the loss of her Great Uncle Moszek and fifteen relatives during the Shoah, to bring forward a body of work that reflects on belonging and exclusion. Set against a contemporary backdrop of political fracture and global displacement, Til All Is Correct expands this personal history into a broader reflection on exile, exclusion, and ethical remembrance to consider how histories of persecution and displacement are inherited, not only through stories but also through silence, gesture, and fragment.

This multidisciplinary exhibition explores our relationship with how objects can hold emotional and historical weight far beyond their material form, becoming vessels through which memory and human trauma can be carried. Central to the exhibition is the shoe, an object that bears the imprint of the body and carries the trace of lived experience. In this instance, the shoe becomes a relic and a witness to both the Shoah and Louise’s ancestral history. It becomes a material reminder of movement, survival, and loss.

These subject matters are not new for Louise. Across her practice, Fago-Ruskin explores themes of exile, homecoming and belonging, reflecting on displacement and the human condition in both historical and contemporary contexts. Her ongoing research revisits notions of the numinous in art, alongside wider concerns around memory, identity and migration. Continuing these themes in this exhibition, Louise creates an immersive space for listening, reflection and empathy, inviting the audience into a slower and more attentive encounter with fragility and endurance. Louise asks the questions: How do we represent trauma without exploiting it? How can art hold space for what feels unspeakable? What does ethical remembrance look like now?