In brief
British artist Lee Maelzer opened her exhibition "Hayden" at Cable Depot Gallery in Sofia on 29 October. The show, curated by Iavor Lubomirov, centers on model Hayden Hughes against the backdrop of derelict urban settings to examine loneliness and social inequality. The exhibition is part of a larger project funded by the Bulgarian Ministry of Culture.
On 29 October, British artist Lee Maelzer opened her new exhibition "Hayden" at Cable Depot Gallery in Sofia, Bulgaria, a show that reexamines the relationship between the human figure and abandoned urban environments. The 29‑day run, concluding 21 November, centers on model Hayden Hughes and promises a contemplative dialogue between the artist, her muse and visitors.
Maelzer, born in London and a graduate of Central Saint Martins and the Royal College of Art, has spent fifteen years exploring urban spaces through painting, collage and experimental film. Her earlier work often features abandoned interiors, staircases and ruins where the human figure is missing but subtle traces of presence linger; the new show flips that dynamic by placing Hughes directly in the compositions.
According to the gallery, Maelzer’s use of a muted colour palette and cinematic framing is intended to probe “loneliness, social inequality and alienation.” In “Hayden,” these themes pivot to the tangible figure of Hughes, who appears in various poses, allowing viewers to witness how a single human presence can transform a void into an encounter.
Curator Iavor Lubomirov, who has championed Maelzer’s work since the beginning of his career, explains his intent: "Just as she is able to paint human presence in an empty room, she is able here to paint her own presence for us through the figure of Mr. Hughes," he wrote in the curatorial text. Lubomirov noted that the first solo exhibition he built for the gallery was Maelzer’s a decade ago.
"Hayden" is part of the broader project “In the Process of Translation – The Periphery at the Center,” organised by the Bulgarian Literature Foundation. The project received funding from the Bulgarian Ministry of Culture, awarded through the 2025 Open Call for Visual Arts. The partnership reflects ongoing efforts by the Ministry to promote international artistic dialogue and cultural exchange.
While the gallery has not yet released visitor statistics, early press coverage highlights a growing interest in Maelzer’s work. The National Portrait Gallery in London has previously showcased her work, and she has been recognised by the Abbey Fellowship at the British School at Rome in 2004. These accolades underscore the reach of her practice beyond the UK, aligning with the Ministry’s objective of fostering global cultural connections.
Open questions remain about the public’s reception and the long-term impact of this collaboration. Art critic Maria Nikolova of the Sofia Review points to the potential of Maelzer’s imagery to spark conversations about urban decay and social stratification. She wonders whether the show will inspire local artists to reimagine abandoned spaces as sites of social commentary.
The exhibition’s alignment with the Ministry’s 2025 Open Call also invites speculation about future funding cycles and the possibility of a touring schedule that could bring "Hayden" to other European cities. Speaking in a local interview, Lubomirov hinted that the project might open doors for cross‑border exhibitions, but did not confirm any plans.
