The works that makes up Leonora Hamill's first solo show in the UK are impressive mostly, if not almost entirely, for their large sizes. Aside from their imposing scale, however, Hamill's pieces are unfortunately quite forgettable. This series, Art in Progress, comprises of photographs of art students' studios from around the world – an idea that, conceptually speaking, is very interesting. One expects to experience a vast diversity of working practises in disparate countries, married with certain unifying aspects of the artists – to see the frantic hand of the artist through strewn-about objects and half-finished artworks. Although rather trite, it's always quite exciting to get an insight into the psyches of artists through the objects of their working practice.

However, these photographs betray very little personality – if any at all. Despite being dotted with the occasional slightly exoticist bits of international flavour, in the form of paint pots with Polish labels or bits of Cyrillic writing on the wall, these studio scenes seem so carefully constructed that I suspect the dominant personality shining through them is no-one else's but Hamill's.

For the sake of uniformity in the series, it seems as though each of the studios was selected, initially, for their similar size. All of the studios that Hamill has chosen to feature are much larger than average, giving an impression of spaciousness that is perhaps out of reach for the majority of art students. In addition to this, each of the rooms has been carefully arranged – and conspicuously so. It becomes very difficult to imagine that anybody ever actually works there, as they come to more closely resemble a replica of an art studio in a film set, rather than the real thing. Furthermore, the prints all possess an identical coldness and neutrality. All of these elements, rather than creating a level of consistency that would be natural for any artistic series, instead manifest as monotony. Considering, for example, Drawing I Hanoi (2010) and Sculpture I Bombay (2011), two images that were taken in their namesake locations: aside from the presence in the latter photograph of the artist's Hindu sculpture, featuring a few recognisable statues of the dancing Shiva and the flute playing Krishna in the background, the two images could be of the same studio. They have both been hollowed out in the same way, with their minimal innards arranged delicately in the same careful order. There's nothing to say that the Hanoi image is in Vietnam, rather than also being in Mumbai, or anywhere else; in fact, there isn't even any sign that anybody actually works there. What we can see are some blank sheets of paper attached to a few nondescript easels, lined up in the bare, white-walled room – there is no sign of life in this image.

That's not to say, however, that the photographs aren't attractive – that they certainly are. As I've mentioned already, they're very large, and would certainly dominate most rooms. The images themselves are sharp and bright, and very pretty. However, there is no escaping the fact that they are incredibly static. Upon learning of the subject of the series, I expected a lot of energy to emanate from these works, and I was rather excited to experience the movements, and therefore, the excitement of the young artists. So, I must admit I was disappointed, or perhaps worse – rather than feeling any animosity towards the works, I simply felt quite bored by them. On the whole, then, these photographs are attractive enough to hang in your drawing room (if you have a large enough drawing room), but are not really worth seeing for their own sake. 

Leonora Hamill: Art in Progress, at Tristan Hoare GalleryAshitha Nagesh reviews Leonora Hamill: Art in Progress at Tristan Hoare Gallery.2