Don’t miss: ‘The Mother & The Weaver’ dissects the complexity of motherhood
‘The Mother & The Weaver’ at the Foundling Museum, London, looks at the complex role of the mother in art from the Ursula Hauser Collection

The mother is an apt figure for London’s Foundling Museum to consider: present, absent or suffocating, the mother’s role can spin a web of tendrils extending into love, sexuality and identity for her offspring.
It is a subject that has long fascinated artists including, notably, Louise Bourgeois, whose well-known spider image inspires the name of this exhibition, ‘The Mother and the Weaver’. Her work is the main focus in this curation from the Ursula Hauser collection, which unites over 40 pieces from women artists, encompassing Lorna Simpson, Rita Ackermann, Ida Applebroog, Sheila Hicks, Berlinde de Bruyckere, Maria Lassnig, Marlene Dumas, Sonia Gomes, Luchita Hurtado, Nicola L, Anna Maria Maiolino, Carol Rama, Pipilotti Rist, Amy Sherald, Sylvia Sleigh and Alina Szapocznikow.
Here, curator Tanya Barson discusses the way artists have explored this dichotomy between the private and the public in the artists on show here.
Inside ‘The Mother and the Weaver’ at the Foundling Museum
Installation view, ‘The Mother & The Weaver: Art from the Ursula Hauser Collection’, 2023. Maria Lassnig, Selbstportrait weinend (Selfportrait crying), 1994. Sylvia Sleigh, Untitled, 1960.
Wallpaper*: How do you explore the multi-faceted role of the mother, absent or present, in this exhibition?
Tanya Barson: The exhibition aims to address the role and representation of the mother and motherhood in a very broad sense. It is a fundamental experience in life. While we don’t all experience being mothers, we all have mothers whether they are present in our lives or not. The artists in this exhibition address the spectrum of experience of our mothers and of being mothers. They tell us about their own deeply personal experiences, of motherhood, birth, their own childhood, or having children and their relationships to parenting and with their own parents, and they don’t sugar-coat it. They are candid about the messiness of life, about its complexities and the profound paradoxes that arise in our emotional lives. Society, and art history, have tended to portray motherhood in moral terms of black and white, of ideal motherhood and of failure and condemnation, while these artists express the grey areas.
Louise Bourgeois, The Good Mother, 1999
W*: What was important to consider in the curation of the artists included here?
TB: I selected works by women artists from the Ursula Hauser Collection, which has a history of engaging with female perspectives – both of the artists, their subjects and the collector.
Receive our daily digest of inspiration, escapism and design stories from around the world direct to your inbox.
They have also been selected because of the way they address wider concerns with the representation of the female body, which is a related theme here, including modes of self-representation by female artists, or the complexities of gender identity. Underpinning the work is also an examination of the thematics of care – very much a priority across society as well as in the art context – leading to questions such as what does care entail; who cares for whom; and what are the experiences of care or its absence that define our lives? The artists have been chosen for their frankness about things such as anxiety, loss, dependence, ambivalence, vulnerability and, conversely, strength, love and resilience.
What’s important in this group of artists is that they address complex or difficult aspects of human experience non-verbally, and yet in ways that are themselves complex and multi-layered. That is to say, without closing down the possibilities but opening up to a range of responses. The museum is a complex and emotive space and its many different audiences and visitors should be able to experience these extraordinary artworks on their own terms. The fact that artists use their own individual languages means that each viewer can encounter them without needing translation. They speak for themselves.
Louise Bourgeois, The Birth, 2007
W*: What can visitors look forward to from this exhibition?
TB: The exhibition includes a selection of exceptional works by artists of the first order. Works that are in turns fierce or timid, full of sorrow or hope, pain or joy. Some of the artists are widely acclaimed, while others may be discoveries to the visitors. What is perhaps most special is to view these works in dialogue with the museum, its collection, its history and the setting it affords.
‘The Mother & The Weaver: Art from the Ursula Hauser Collection’ at the Foundling Museum until 18 February 2024
Hannah Silver is the Art, Culture, Watches & Jewellery Editor of Wallpaper*. Since joining in 2019, she has overseen offbeat design trends and in-depth profiles, and written extensively across the worlds of culture and luxury. She enjoys meeting artists and designers, viewing exhibitions and conducting interviews on her frequent travels.
-
A street-like Pune clubhouse celebrates the ‘joy of shared, unhurried experiences’
A brick clubhouse in Pune by Studio VDGA reflects the fluidity and openness of the Indian way of life with a series of welcoming plazas, courtyards and lanes
-
A 432 Park Avenue apartment is an art-filled family home among the clouds
At 432 Park Avenue, inside and outside compete for starring roles; welcome to a skyscraping, art-filled apartment in Midtown Manhattan
-
Kitchen Trends 2026: luminosity, colour, and unexpected materiality
These are kitchen trends shaping interior design in 2026, from collaborative kitchens to warm luminosity
-
Shop the gloriously mad inner workings of Gary Card’s brain in London’s Soho
Set designer and artist Gary Card has taken over London's Plaster Store – expect chaos and some really good accessories
-
Meet the New York-based artists destabilising the boundaries of society
A new show in London presents seven young New York-based artists who are pushing against the borders between refined aesthetics and primal materiality
-
Leila Bartell’s cloudscapes are breezily distorted, a response to an evermore digital world
‘Memory Fields’ is the London-based artist’s solo exhibition at Tristan Hoare Gallery (until 25 July 2025)
-
Emerging artist Kasia Wozniak’s traditional photography techniques make for ethereal images
Wozniak’s photographs, taken with a 19th-century Gandolfi camera, are currently on show at Incubator, London
-
Vincent Van Gogh and Anselm Kiefer are in rich and intimate dialogue at the Royal Academy of Arts
German artist Anselm Kiefer has paid tribute to Van Gogh throughout his career. When their work is viewed together, a rich relationship is revealed
-
Alice Adams, Louise Bourgeois, and Eva Hesse delve into art’s ‘uckiness’ at The Courtauld
New exhibition ‘Abstract Erotic’ (until 14 September 2025) sees artists experiment with the grotesque
-
Get lost in Megan Rooney’s abstract, emotional paintings
The artist finds worlds in yellow and blue at Thaddaeus Ropac London
-
Out of office: the Wallpaper* editors’ picks of the week
It was a jam-packed week for the Wallpaper* staff, entailing furniture, tech and music launches and lots of good food – from afternoon tea to omakase