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A blind artist hopes to inspire a new generation with his Braille artwork. The Power of Touch is Clarke Reynolds' first London solo exhibition. Born partially sighted in his right eye, Clarke became an artist when the deteriorating eyesight in his other eye forced him to give up his career. Today, he has only 5% of his sight left.

The exhibition will showcase Clarke's idiosyncratic, colourful Braille art, where he uses the tactile language of raised dots to recount his journey as an artist and convey the lived experience of blind and visually impaired people.

Husak considers all elements of a project before creating the aesthetic of ‘highly controlled chaos’ that has come to define his work. He has developed his own technique of pigment transfer, pushing the medium of printmaking beyond conventional boundaries. His new panelled works bridge his passion for painting and print; colour takes centre stage in his most recent body of work – a significant transition from his previous monochrome oeuvre – utilising materials ranging from wood to painted aluminium, paper, collage and canvas. He is inherently fascinated with the idea of capturing movement on a flat surface bringing order into a world that feels chaotic – to find beauty where there is ugliness.

Having long been seduced by the beauty and perfection of the Classical world, Husak presents us with a very modern muse: the lithe and youthful man – channelling the look and movement of a fashion model in a neo-romantic way. In the image, we see the glitch: the double exposure, the jolt and the jut; a digital imperfection, a stuttering. In Husak’s work, semi-transparent edges of bodies become less distinct as they melt together to simultaneously create corporeal and carnal strangeness – a space for the viewer’s imagination through implied movement and evidence of trace.

A former homeless drug addict has turned his life around and is now an up-and-coming graffiti pop artist hosting an exhibition in an east London gallery.

Opake, also known as Ed Worley, was recently offered a lucrative contract by a top gallery, but he turned the offer down and chose Quantus Gallery, where he decided to host a homeless breakfast with Centrepoint. His exhibition, "Sanity Through Repetition", follows the influences of his personal journey through addiction.

Ed Worley, 34, has lived a life many wouldn't wish for. From battling addictions, whether that be alcohol or drugs or homelessness, he has experienced things in his life that people may not have blamed him for if he wanted to give up. Growing up in a working-class background, his family built their way up to give Ed the life they thought he needed. His parents, who grew up in Hoxton, East London eventually owned 12 galleries before moving to Essex. Creativity was a big part of their lives but so was drinking. Parties would go into the early hours of the morning and alcohol would always be flowing.

Ed has memories as far back as four of hearing Jimmy Hendrix being played as his parents and their friends partied. He told MyLondon: "I had a normal childhood as a kid but I guess where the madness came into it was with alcohol. My family's friendship group and the social drinking aspect of life were so evident that I thought that's what having fun was about; going to pubs, adults getting drunk and us playing."

As with all rapidly growing technologies, NFTs’ exploding popularity has not been without controversy, and concerns have been raised about the reliability of blockchain ledgers, the environmental impact of non-fungible tokens themselves and the high volatility of the crypto-market.

Critics have also argued that, while NFTs were originally created to give digital artists control over their work and help them protect their intellectual property, non-fungible tokens have become yet another way of exploiting creative professionals.

To get a handle on the crypto-signed intangibles that have been taking the art and collectables world by storm, we reached out to Josh Sandhu – a connoisseur of all things crypto and one of the founders, along with James Ryan and Ryan Marsh, of Quantus Gallery, Europe’s first non-fungible token advisory.

Today, the UK’s first NFT gallery opens its doors: a full-time space dedicated to what believers promise is the future of British art. Based in Shoreditch, in east London (where else?), Quantus Gallery’s white walls are lined with screens displaying non-fungible tokens, digital certificates of ownership that have become a £30 billion industry. In lieu of the usual authenticity documents, the deeds to this virtual art is a string of code, stored on the blockchain – a decentralised platform that powers Bitcoin and other cryptocurrencies....

The decision to launch a physical art gallery for NFTs follows an explosion of interest in the space last year. At the start of 2021 NFTs were known to only a handful of crypto enthusiasts. By the start of 2022, the market had exploded into a $40bn industry, rivalling the traditional art market which saw $50bn of sales in 2020.