Waddington Custot at 11 Cork Street in London is presenting Reflections, a survey exhibition tracing Ian Davenport's practice from the late 1980s to the present day. The show runs from 21 September to 21 November 2026, with a private view on 29 September. It is the eleventh solo exhibition Davenport has held with the gallery since his debut at Waddington Galleries in 1990. The exhibition follows the artist's long-running enquiry into how paint behaves when the artist lets go of it — the point at which control is handed over to gravity, dilution and chance. The hang moves from early experimental works made just after Davenport graduated from Goldsmiths, including the Erased Lines of 1988, the Electric Fan Studies begun in 1989 and the Watering Can Drawings of 1992, through the arch and circle paintings of the late 1990s and early 2000s, to the syringe-poured Puddle Paintings and splattered canvases for which he is best known. A centrepiece is Untitled (Large White) from 1991, a canvas more than six metres wide that formed part of the body of work behind Davenport's Turner Prize shortlisting that year — at twenty-five, he was the youngest artist ever shortlisted. His work has since been realised at architectural scale, on Southwark Bridge in 2006, at the Venice Biennale in 2017 and at the Chiostro del Bramante in Rome in 2022. A new catalogue accompanies the show, with essays by leading critics and a conversation between the artist and his brother, Philip Davenport. The gallery's relationship with Davenport began in 1988, when dealer Leslie Waddington visited the Goldsmiths degree show at the urging of the artist's tutor Michael Craig-Martin, whose eye had already been caught by the young painter's distinctive voice.