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Events5 Questions With… Tatiana Cheneviere
Tatiana Cheneviere founded Pipeline in Fitzrovia in 2022 as a space for deeper engagement — not just with the artwork on view, but with the ideas that drive it. Each artist is introduced through a single work before their exhibition opens, offering a slower rhythm and an emphasis on storytelling. Ahead of presenting at MEGA, Tatiana reflects on the value of collaboration, the influence of non-profit spaces, and why she finds her greatest inspiration in the artists themselves.
1. Can you introduce yourself and tell us a little about your gallery?
I’m Tatiana Cheneviere, and I run Pipeline — a contemporary art gallery in central London. The focus is on emerging practices and the ever-evolving parameters within them. We opened around two and a half years ago, so we’re still relatively new, but the structure of the gallery has been really central to our thinking from the start.
Pipeline has a divided format: the main exhibition space, and a smaller enclosed room at the back where we always present a single work by the artist whose solo exhibition is coming up next. That early encounter offers a window into the artist’s current thinking — a kind of pause before the full show — and helps create a slower, more reflective experience. It also gives the artist a space that isn’t their studio, and isn’t yet a full exhibition — where they can articulate or workshop some of their ideas. The aim is always to amplify the voice of the artist as much as possible. That’s been a driving principle since the beginning: making sure the artist’s intentions are heard.
2. What are you showing at MEGA, and why did you choose to present this work?
I’m showing works by George Richardson and Callum Harvey — both British artists. Callum currently has a solo show with us at the gallery, and George’s exhibition opens on 26th April. So presenting them at MEGA felt like a natural extension of the London programme.
Both artists share an interest in domestic space — its objects, surfaces, and atmospheres. George is focused on objecthood and our emotional relationship to things. He casts in metal and concrete to create sculptures that feel at once familiar and uncanny. Callum explores how nature behaves within design-led environments — his work incorporates wallpaper, murals, and decorative forms that blur the line between natural and constructed worlds. It felt meaningful to bring those two conversations into the same space.
3. Do you think Pipeline has a shared ethos or aesthetic that runs through the programme?
Aesthetic — no, or at least not consciously. But ethos, yes. Engagement is central — how people engage with art, and how we might deepen that experience.
The gallery format plays a big part in that. Showing one work ahead of an exhibition invites people to step into the artist’s thought process before seeing the full body of work. It allows for a quieter moment of connection — and gives the artist a chance to try something out, to be reflective. It’s not a studio, but it’s not quite a full exhibition either. That space in between can be really valuable.
I also think that the artists themselves shape our ethos more than anything. I probably get most of my inspiration from the creatives — from their dedication to their practices, what they put out into the world, and how they use their creativity to make a difference. That’s what drives me, more than any business model or framework.
4. What does community mean to you as a gallerist?
Community is hugely important — especially when you’re running a gallery solo. I don’t have a big team, so collaboration is essential.
I’m really lucky to be surrounded by such a strong group of galleries in Fitzrovia. We all support each other, and that sense of community — especially in a creative workplace — really does fuel new ideas. It keeps the energy up, and makes things possible that wouldn’t be otherwise.
5. Can you tell us about a project or collaboration that helped shape your identity as a gallery?
One that stands out is our recent collaboration with Slugtown, a non-profit in Newcastle. At Pipeline, we’ve always worked with artists based all over the UK — not just in London — and we also place a lot of value on our relationships with galleries outside the city.
We decided to swap spaces, and see what it would spark. Slugtown is one of the few spaces in Newcastle showing emerging artists, and it’s a city with a strong non-profit art scene. So for a commercial gallery from central London to relocate there, even temporarily, created a new kind of conversation. It encouraged both of us to think differently about what’s possible, what’s valuable, and how geography influences programme and purpose. It was a key moment — both practically and philosophically — in helping define who we are.
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