Frameless Brand Guidelines: Marble Arch’s Four Projection Galleries, Opened in October 2022

A Marble Arch basement and a team from events.

Frameless was announced as a London venue for projected art. In May 2022 The Art Newspaper reported that it would open at Marble Arch that autumn, in a newly redeveloped tower complex, occupying 30,000 square feet across two floors on a 15-year lease, and that digital versions of works by artists including Cézanne, Kandinsky, Monet, Canaletto, Rembrandt and Klimt would be projected across the walls, floors and ceilings. Its chief executive was named as Richard Relton, and the Japanese electronics group Panasonic as the partner supplying much of the technology.

The people behind it came largely from sport and live events. The trade magazine Blooloop reported in February 2023 that Relton had worked in sport, events and hospitality, and named the founding partners as Richard Relton, Andrew Wells and Scott Givens, with Simon Kentish as chief technology officer. Givens, a producer of large ceremonies and live events, was described as chief creative officer of both FiveCurrents and Frameless. Relton told the magazine that the idea took shape after he visited teamLab’s Borderless in Tokyo and wondered whether something similar could be made in the UK.

The art selection came from curators rather than technologists. Blooloop said the galleries were curated by ArtscapesUK, whose founding director, the art historian Rose Balston, and colleague Rosie O’Connor, Frameless’s senior curator, worked with Givens’s team on the themes of the four rooms; O’Connor said the selection focused on European art and on connections between artists working centuries apart rather than on a chronological story.

The company behind the venue trades as FRAMELESS London Limited, according to the copyright line on its website, which runs from 2022 to the present and sets the name in capitals throughout.

Four rooms under Marble Arch.

Frameless opened on 7 October 2022. The London website ianVisits described it that day as a large basement under Marble Arch reached through a shop, down two sets of glittering escalators and along a glowing corridor, opening onto four themed rooms in which every surface carries moving images and music. Each room’s programme runs on a loop of about 20 minutes. One room responds to visitors walking across the floor, scattering painted leaves that drift up the walls; another is edged with mirrors; the abstract room is a maze of thin gauze screens that, the site said, suited Mondrian and Kandinsky especially well. Among the paintings it named were Rembrandt’s storm scene on the Sea of Galilee and Joseph Wright’s Vesuvius in Eruption.

The four rooms have fixed names. Blooloop listed them as Beyond Reality, which runs from Surrealism to Symbolism; Colour in Motion, which begins with the Impressionists and uses motion tracking so that visitors can leave a passing mark on the projections; The World Around Us, a tour of cityscapes and landscapes; and The Art of Abstraction, the multi-layered maze. The magazine reported that the opening collection held more than 40 works by 28 artists, shown with Panasonic projectors, systems integration by Creative Technology and audio by Autograph Sound, and that the rooms use mirrors, six-sided projection and semi-transparent screens.

The collection has grown since. In July 2026 the trade title Exhibition News reported that a new installation based on Michelangelo’s frescoes in the Sistine Chapel, including The Creation of Adam, had been added to The World Around Us from 10 July, bringing the collection to 43 artworks by artists from 13 countries. Frameless also runs adults-only evening openings, called FRAMELESS Lates, on Fridays and Saturdays, and hires out its galleries for private events, its website says.

Rooms, light and naming.

Immersive art and experience venues sell a visit rather than an object. When Superblue announced its Miami opening programme in October 2020, The Art Newspaper reported that the company would earn its revenue through ticket sales rather than through sales of artworks. In December 2024 the same paper recalled that it had counted more than 100 large spaces for immersive digital art around the world, a group it called “immersive institutions.”

The companies present themselves through their rooms. Projection-filled halls, where images run across walls, floors and ceilings, sit beside mirrored rooms and colour-saturated light works. Frameless in London opened in October 2022 with four themed galleries of digitised paintings, one of them edged with mirrors, ianVisits reported; Superblue in Miami opened in May 2021 with a mirrored maze by Es Devlin and a light work by James Turrell, according to The Art Newspaper.

Naming is usually plain. Venues tend to carry the company name and the city, as in Superblue Miami, and shows and rooms take descriptive titles: the four permanent galleries at Frameless are called Beyond Reality, Colour in Motion, The World Around Us and The Art of Abstraction, The Art Newspaper reported in 2024. Both companies also list a café and private-event hire on their own websites, alongside their tickets.

Corporate pages are where founders, studios and owners appear. Artists and studios are credited by name, such as teamLab, DRIFT or Random International at Superblue, and partnerships with museums and production studios are announced in public: Frameless Creative’s touring work with London’s National Portrait Gallery, made with the studio Cinesite, was reported by The Art Newspaper in 2024 and 2025. This guide sets out what dated sources say about each company, and marks what rests on the company’s own word.

From Marble Arch to Salford.

Frameless has also become a producer for other venues. In January 2024 the London visual-effects studio Cinesite opened an immersive division and entered a long-term partnership with Frameless Creative, the company’s production arm, English Wikipedia records. In December 2024 The Art Newspaper reported a long-term partnership between Frameless Creative and London’s National Portrait Gallery, called National Portrait Gallery Unframed, whose first project was a touring experience, Stories – Brought to Life, drawing on the museum’s portraits.

That show opened at The Piazza in MediaCity, Salford Quays, and ran there until 31 August 2025. The Art Newspaper, reviewing it that August, described a sequence of 150-second stories projected onto an irregular mosaic of square and oblong screens inside a specially built 10,000-square-foot structure, assembled with Cinesite under Frameless Creative’s creative director, Ryan Atwood. A shorter version later ran at Marble Arch in the venue’s temporary-exhibition gallery, telling the stories of five figures including William Shakespeare and Nelson Mandela; the website now lists it as ended.

That second gallery holds changing shows. Frameless’s website lists past exhibitions based on Anna Llenas’s The Colour Monster picture books, the digital artist Reuko’s Sol Bound I and a theatre piece based on Moby-Dick, and a current exhibition of 91 photographs from the Nikon Comedy Wildlife Awards set in seven projected habitats.

For a design guide, Frameless shows how a venue can turn a museum-style hang into a set of named, repeatable rooms. Compare Lightroom, another London immersive venue in this series, and teamLab, whose Tokyo Borderless Relton cited as a starting point. For this guide we use a gallery blue, a near-black and a gilt with a sans, an unofficial interpretation; no product or logo is reproduced.

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