COB 10 IS A ROLLING EXHIBITION THAT SEES PREVIOUSLY EXHIBITED ARTISTS RETURNING TO THE GALLERY IN CELEBRATION OF THEIR ARTISTIC ACHIEVEMENTS AND DEVELOPMENTS IN THEIR PRACTICE SINCE FIRST EXHIBITING AT COB.
DISPLAYED BOTH ONLINE AND IN THE PHYSICAL GALLERY SPACE, THE EXHIBITION FORMS PART OF COB’S TENTH-ANNIVERSARY PROGRAMME.
Lee SimmondsCan't Bring Back Time Like Holding Water in Your Hand , 2021Cob presents a new painting from British artist Lee Simmonds as the closing instalment of the gallery’s 10 year anniversary exhibition Cob10. Simmonds previously featured in Cob group show Paintings On, And, With Paper in 2020.Lee Simmonds is a painter exploring the boundaries between abstraction and narrative; the personal and the macrocosmic. Channelling everyday experience through the genre of magical realism, he strives to create uncanny situations, rendered through a continually evolving visual language. Growing up in an alienating suburbia, Simmonds was attracted to any form of artistic expression that could provide him a sense of escapism and draws upon imagery he absorbed throughout childhood. An avid learner and apophenic, Simmonds’ approach to painting is ever-changing and always on the move for new styles, ideas and ambitions.
Can't Bring Back Time Like Holding Water in Your Hand responds to a moment from Christopher Nolan’s 2014 science fiction film Interstellar. The painting results from Simmonds contemplating the emotional and psychological effects of time - and how time can, seemingly, both provide and relinquish a sense of agency. Simmonds was struck by a composition found in a scene where Matthew McConaughey's astronaut character embraces his daughter Murphy, before he leaves for his uncertain outer space mission- her head sticking out through his jacket sleeve. For Simmonds, this reference allowed for a painterly exploration of emotional expression to achieve a sense of balance - both compositionally and dramatically.Lee Simmonds (b. 1996) received his BFA with First-Class Honours from the Ruskin School of Art in Oxford, England in 2019 shortly afterwards was selected as one of 31 students worldwide for Saatchi’s Rising Art Stars (2019 – 2020). He also received MS Amlin Young Artist Award (2016); BP Portrait Award (2015) and was the Winner of Regional 'Kickstart' Competition (2014). Simmondsdebut solo exhibition Inter Yonderland took place in 2020 with Kristin Hjellegjerde Gallery, London. Simmonds has participated in group shows at both Pippy Houldsworth and Unit. Simmonds second solo exhibition will take place at Kristin Hjellegjerde in their Berlin space in 2022, and his third at Lundgren Gallery in October next year.
Nina Mae Fowler
Cob Gallery are pleased to present six new works by British artist Nina Mae Fowler as part of the 10 year anniversary exhibition.
Fowler is known for large scale drawings that are often accompanied by sculpture and installation. Drawing from source material including film stills, documentary footage, historical paparazzi and entertainment photography, Fowler’s investigation of the interplay between tragedy and beauty emerges from intricate archival research. Her drawings are weighted by tensions surrounding ridicule, self-sabotage, compulsion, victimisation, emotional and physical vulnerability, exploitation, excess and abuse, played out in complex ways and in different combinations through the prism of the camera lens, the Hollywood ‘Golden Age’ and the cinema screen.
Fowler exhibits in the gallery’s 10 year anniversary show following three solo exhibitions at Cob: That’s Right Mister, And How’s Your Fairytale Coming Along? (2013), While I’m Still Warm (2017) and If You Don’t Want My Peaches, You Better Stop Shaking The Tree (2019). Cob was proud to publish the artist’s first monograph Measuring Elvis in 2015 with supporting texts from John Maybury, and the second Ruined Finery was published in 2020 which featured supporting essays from Dame Marina Warner and Alissa Bennett. In 2019, Nina Fowler was awarded a major commission for The National Portrait Gallery, London. Entitled ‘Luminary Drawings’, the series comprises nine charcoal portraits of leading British Film Directors and remains in the permanent collection of the museum.
This series created for Cob’s 10 year anniversary exhibit sees Fowler revisiting a ‘sculptural frame’ technique. The original sculptural frame series were created and exhibited ten years ago and, for Fowler, mark a turning point in her aesthetic. The collision of sculpture and drawing has since become one of the most recognisable features of Fowler’s practice.
Fowler’s sculpted frames appear as a chain of bound and blindfolded nude female figures, contorted into a circular or oval shape. Appearing at first to be idealised icons of feminine beauty and desire, on closer inspection they radiate pain, restraint and impending violence. Like Bernini’s Saint Teresa, they are in a suspended state of agony and ecstasy. Yet the nature of what these female figures convey to the viewer is intentionally ambiguous: are they bound and blindfolded in pain and subjugated against their will, or do they take a perverse pleasure in subservience and submission as a fate they have actively chosen for themselves?
The figures that make up the frames are modelled from life in the artist’s studio. Beginning in clay, Fowler casts the frame in its entirety. A smooth, polished finish is achieved on the uppermost parts of the figures, the contrast with the rough base of the original sculpture is deliberately retained, generating a sense of nebulous emergence. In Dante’s Divine Comedy, the shades (the souls of the damned) stood at the entrance to Hell, pointing to an unequivocal inscription: “Abandon hope, all ye who enter here.” Rodin made several studies of Shades, eventually assembling three identical figures that seem to be circling the same spot.
The artworks contained in the latest series continue Fowler’s near forensic investigation into the machinations and darker consequences of fame, whilst simultaneously emerging as a critique on our relationship to both stardom and fandom. At an intimate scale and delicately detailed, Fowler commands the viewer to scrutinise the deliberate selection of her subjects– and as a collection, they are united in their tribute to the lesser-known image of the star depicted. The miniature pencil drawing portrayals are actresses Libby Holman, Tallulah Bankhead, Marpessa Dawn, Jean Harlow and additionally actor Montgomery Clift. The suite is completed with one coloured pencil work capturing the actress Dorothy Dandridge. Whilst Fowler captures a deeply relatable, sometimes uncomfortable, human vulnerability in her subject, closer investigation of their lives allows for a shift from aesthetics of golden-age Hollywood into an urgent and beautiful engagement with issues and identities of our own age.
With a desire to push the seeming limitations of the medium of drawing, details from the source material imagery have compelled Fowler to transform into a drawn image. Fowler describes: “The sunlight bouncing off Jean Harlow’s hair, Libby Holman’s martyred face beneath her veil, the crabby lipstick on a manic Tallulah Bankhead's teeth, Marpessa Dawn’s knowing eyes and the manufactured sheen on her naturally curling hair, the monstrous movement of Montgomery Clift’s camera - at first glance perhaps seeming to be an orifice into his tortured soul.”
Enclosed by the sculptural figures, the format of these works operates as ‘portals of discovery’ to the controversial, complex, tragic and indeed heroic personal lives of these icons, and perhaps the lesser-known side to their otherwise overexposed and more often than not exploited lives. The frames are intended to heighten a sense of adoration for the subjects in the drawing, whilst also being emblematic of the duress that fans symptomatically impose upon themselves and the symbiotic relationship with those they worship. Meanwhile, they reveal Fowler’s role as a passionate forensic investigator into the driving forces behind her imagery made only possible with her own dedicated fandom as a starting point.
Laurence OwenBiomorphia, 2020Cob is pleased to debut a series fourteen watercolours by British artist Laurence Owen, as part of Cob’s 10 year anniversary programme. This ongoing series for the artist has been conceived as an installation in the gallery on a bespoke steel grid in viewing room space. Laurence Owen first exhibited with Cob in 2018 as part of group exhibition NEW WORK: PART ONE: FORM.Owen’s work, which includes a painting, sculpture and ceramic practice is a symptomatic expression of a culture where everything and nothing is being absorbed on a daily basis. The emergent visual language is a result of the artist’s experience of being subjugated to receiving the amalgam of biochemical and synthetic data all at once, until the differentiation between the two gets confused. Each realm consistently flits, generates or erodes contributions to notions of a "total truth" and seeks to question our own intuitive understanding of "the real". The work assumes "war/ding" or "world-building", where the blending of the material and the semiotic removes boundaries between subject and environment, persona or topos. It provokes collapse between usually distant fields like biography and technology, fact and fiction, private and public in a continuous flux of exchange.With the sculptural works often hybridizations in their use of material and aesthetic, they seem to be arranged with an ergonomic purpose and functionality but are in fact slippery and subversive. With this, they journey from a seemingly practical domain and into metaphysical investigations. Owen questions how meaning can be brought to or embedded into materiality, and how Art as a relational object can stimulate value and belief, hinting at notions of ‘systems’ operating behind our daily existence. Throughout his work, a collapse between past and present occurs; futurist scenarios appear to simulate and flow into established aesthetics as an equally speculative – science fictional – realm.The impetus behind these watercolour works were at first Owen’s preliminary investigations towards his sculptural works. The watercolours have, until now, remained private, as they are accumulative of personal and revealing moments. However, brought together as a series, they, as described by Owen: “constitute their own existence rather than simply function as the support act. The works are translations of mundane daily observations. For Owen, they are totems made from the things we may look at, but forget to “see”. Owen says “They are studies of my experience in the world forged out of the timeless significance in observing mundanity.” Meanwhile, the watercolour works aim to create an experience of dissolving the ‘before’ and ‘after’, and aim to disrupt a linear chronology of artistic progress or development. In their relation to the sculptural works, Owen creates a tension between the two dimensional artwork and the three dimensional object.Owen (b. 1984) graduated in Fine Art from the Royal Academy Schools (2015) and lives and works in London. He has exhibited extensively both nationally and internationally. Solo exhibitions include Gerund, Exhibition across two galleries: Lychee One and Zabludowicz Collection Invites, London, UK (2020); 2019: Loot, Galerie PCP. Paris, FR, (2019); Channel Synthesis, Evelyn Yard Gallery. London, UK (2016). Group exhibitions include The John Moores Painting Prize, The Walker Museum, Liverpool, UK (2021); Assembly Points: Bridget Mullen, Laurence Owen, Vanessa da Silva, Public Gallery, London, UK, (2020); Mushrooms: The art, design and future of funghi, Somerset House. London, UK (2020); Drawing Biennial The Drawing Rooms. London, UK (2019); Maly Sabata Art O Rama, Marseille. France, FR (2018); Something Else, Triumph Gallery. Moscow, RU (2018); 28th December 1980, Asylum Studios and Gallery. Suffolk, UK, (2018); Terra: A Contemporary History of Clay, Hotel Contemporary, Lamb Arts. London, UK (2018); Form, Cob Gallery. London, UK, (2018); Lost and Found, Rod Barton. London, UK, (2017); Imagination and its Contents, Frestonian Gallery. London, UK (2017); Absent Bodies curated by Francesca Gavin, OSL Contemporary. Oslo, NOR, (2017); The Talking Lamp curated by Laurence Owen, The Kennington Residency. London, UK (2016); John Moores Painting Prize, The Walker Museum. Liverpool, UK (2016); Looking at People Looking at Art, Division Of Labor. London, UK (2016); Studio_eigh, Studio_Leigh. London, UK (2015); Chimp Cracks Nut With Rock, curated by Sean Steadman, Kennington Residency. London, UK (2015); Laurence Owen & Vivien Zhang, Rook And Raven. London, UK (2014); Premiums, Royal Academy of Arts, London, UK (2014); In The Darkest Hour There May Be Light, Damien Hirst’s Murderme Collection, Serpentine Gallery, London, (2007).Owen has been shortlisted for the John Moore’s painting prize both in 2016 and 2021. Collaborations have included Hermes 5519 Womenswear Collection Button Designs, Paris. FR.
Phoebe Collings-JamesBroken Hearts Requiem, 2011
Phoebe Collings-JamesThe Tower, 2021
Cob Gallery presents a comparative display of two artworks, Broken Hearts Requiem (2011) and The Tower (2021) by British artist Phoebe Collings-James.
Collings-James first exhibited with Cob in 2013 with her solo exhibition Lament for the Walking Dead - an exhibition comprised of three sensory installations including three-dimensional sculpture, sound and video. The gallery is proud to welcome the artist back as part of their 10 year anniversary programme with two artworks exemplary of their multidisciplinary practice - moving image and ceramic sculpture.
Phoebe Collings-James works across sound, video, performance, painting and ceramic sculpture to create artwork that eludes linear retellings of stories. Her works function as “emotional detritus”: they speak of knowledges of feelings, the debris of violence, language and desire which are inherent to living and surviving within hostile environments. Recent works have been dealing with the object as subject, giving life and tension to ceramic forms. Collings-James often refers to her responses as ‘the predicted sensory overload of my generation’ characterised by a nuanced yet potent directness. The closely considered sexuality of her work underwritten by a sustained engagement with feminist perspectives. More recently, Collings-James performs as Young Nettle, a musical alias, developing a relationship to enveloping sound and as part of B.O.S.S., a QTIBIPOC sound system based in South London.
As the 2021 Freelands Ceramic Fellow, Collings-James has a current solo exhibition A Scratch! A Scratch! at Camden Arts Centre, London. Upcoming group & solo shows include Loop, Eastside Projects, Birmingham; Productive picture disturbance. Sigmar Polke and current artistic positions, Kunsthalle Dusseldorf and Tender/Tenderized, Picture Room, New York, in autumn 2021. Collings-James’s Mudbelly ceramics studio began as a personal practice and research outlet, but has since grown to encompass a shop and a teaching facility offering free ceramics courses for Black people in London, taught by Black ceramicists. In 2021, as part of the QTIBIPOC collective B.O.S.S (Black Obssidian Sound System) the artist has exhibited in the Liverpool biennial and has been nominated for the Turner Prize.
The Tower is a recent ceramic work made during the artist's residency at Camden Arts Centre. The artwork references the image of the Major Arcana card in the Tarot where The Tower is thought to represent a collapse. Whilst this can be interpreted as emotional, the image of the crumbling tower can also be seen as a fertile site for renewal with emotional and spiritual fortitude.
Broken Hearts Requiem (2011) is a 16 screen video installation displaying an ode to the lonely. It is a look at the ways in which humans communicate sorrow in public and private and how emotions are universally translated into songs for everyone to attach their woes to. The piece takes its direction from the sorrowful act of wailing which led the artist to youtube where she probed into public, commercial and ritualistic displays of this act. 16 faces of prominent female singers are slowly revealed building to a crescendo of sound and building an overwhelming tapestry of visual.
Tristan PigottWet to the Touch, 2020Cob is pleased to present two artworks by Tristan Pigott, exemplary of his unique brand of figurative painting and as part of the gallery’s 10 year anniversary exhibition.Pigott’s practice spans both painting and sculpture and has cultivated a visual language that combines hyper realism with a photoshop meets painterly abstraction. Primarily working with figure studies and Vanitas inspired still-life which include decisive arrangements of people, objects or furnishings, he is careful to include only those things which speak of the themes he wishes to address.Within this, Pigott has established his own unique brand of figurative painting - often depicting his contemporaries as conduits to a tension that exists between outward portrayal and inner reality. Imbued with an idiosyncratic candour, his work assumes an instantly engaging yet quietly unnerving atmosphere. Pigott is interested in ego, identity and the modern condition of acute self awareness. His paintings offer a commentary on the complexities and pitfalls of living in an increasingly self-absorbed culture. This has evolved into an examination of the notion of how human ego is transplanted into image and the inanimate object that sees the work fluctuating between realism and the surreal.Pigott’s first solo exhibition with Cob titled Dead Natural was curated by Rory Kirk-Duncan and took place in 2015. In 2016, Pigott became artist in residence within the Cob’s on site studios, where he prepared for his second Cob solo exhibition Juicy Bits curated by Alexander Glover.Pigott has exhibited internationally and has had two further London solo exhibitions with Alice Black Gallery, London. Pigott’s latest solo exhibition A Curtain Made of Wood curated by Dooyong Ro took place in August 2021 Cylinder in Seoul.In 2019, Pigott graduated from the Royal College of Art with an MA in Sculpture. Sculpture now forms an integral part to his practice, with his painted works often blurring the boundaries between the two and three dimensional as well as expanding into large scale installation.Tristan Pigott (b. 1990) lives and works in London, UK. Pigott holds an MA in Sculpture from the Royal College of Fine Art (2017-2019) and a BA from Camberwell College of Arts (2009-2012). In 2015, Pigott was shortlisted for the BP Portrait award. Solo exhibitions include: A Curtain Made of Wood, Cylinder, Seoul, South Korea (2021); Listen to the Hum, ALICE BLACK, London (2019); Slippery Gaze, ALICE BLACK, London (2018); Juicy Bits, Cob Gallery, London (2017); Dead Natural, Cob Gallery (2015). Group exhibitions include Nourishment II, VO Curations, London (2020); Behind Tired Eyes, ALICE BLACK, London (2020); Abracadabra, Assembly House, Leeds, UK (2019); NEW WORK: PART I: FORM, Cob Gallery, London (2018); Yellow Sun: The New Contemporaries’, Lagos/Port Harcourt, Nigeria (2014) and ‘Hyperion’, New York, USA (2016).
Cob is pleased to present a new suite of five, large scale mixed media paintings on unstretched canvas by Shadi Al-Atallah. The presentation includes the largest work to date by the artist.
Al-Atallah is a multi-disciplinary artist working between London and Bahrain. Their life-sized distorted self-portraits explore mental health, queerness and racial identity, inspired by spiritual practices, family history and their childhood in Saudi Arabia.
In 2018, Cob proudly presented the artist’s debut solo exhibition Roadblocks, following their graduation from Camberwell College of Arts. This coincided with Al-Atallah creating a mural commissioned by the Tate Collective and The Mayor of London for public art project LDN WMN. For LDN WMN Tate Collective curated 20 women and non-binary artists to create new work situated in public spaces inspired by unsung women heroes from London's history. As part of this, Al-Atallah was invited to participate in panel discussion Insights: Beyond Gender - a talk organised by Tate Modern which explored gender and representation for contemporary artists.
Since their debut exhibition at Cob, Al-Atallah has exhibited in numerous group shows both in the UK and internationally - including a solo booth presentation with Cob at EXPO Chicago in 2019 - their work selected to participate by Naima Keith, Vice President of Education and Public Programs at Los Angeles County Museum of Art (LACMA). This same year, Al-Atallah created their second solo exhibition Fuck I’m Stuck with J. Hammond Projects which preceded beginning an MA painting at the Royal College of Art.
Due for publication in September 2021, Al-Atallah was awarded a commission from the New York Times to respond visually a set of essays exploring black identity.
Shadi Al-Atallah's own queer, mixed-race identity is bodied forth in vigorous, complex work that engages boldly with non-normative identities, composite cultural affiliations, spirituality and mental health. Incorporating ink, acrylics and pastels, the paintings apply a fraught experience of contemporary identity-formation. As composite self-portraits, Al-Atallah's works form a set of highly personal reflections on a childhood poised between cultures, identities and sexualities; of emotional and psychological tensions, and of their release through performance and creation.
Since their debut at Cob, Al-Atallah’s work is incorporated in in The Dean Collection, USA; The Underdog Collection, Italy and the A4 Arts Foundation, South Africa.
Al-Atallah graduated from Camberwell College of Art in 2018, and in 2021 with an MA in Painting at the Royal College of Art, London. Solo exhibitions include Fuck I’m Stuck (J. Hammond Projects, London, 2019); Roadblocks, Cob Gallery, London, UK (2018). Group exhibitions include Without a Painter, Fitzrovia Gallery, London, UK, (2019); Full English, curated by DATEABLE ART, London, UK (2019); the head, the hand, Blank Projects, Cape Town, South Africa (2019); SHARKS, Swim Gallery, San Francisco, USA (2018); Absinthe, Collectivending, Spit and Sawdust, London, UK (2019); Gender Fuckery in Contemporary British Art, at b.Dewitt, London, UK (2019); The People Art Resistance (Part of the AfroPunk takeover, 198 Contemporary Arts, London, UK (2018). Public commissions include LDN WMN (curated by Tate Collective x Mayor of London, Tate Modern, London, UK (2018).
Florence Hutchings (b. 1996) originally from Kent now lives and works in London. Hutchings’ painting practice which includes work on paper revolves around an exploration of the poetry of the everyday, taking elements of her life whether it be the studio, the clothes rail in her bedroom or even the toilet in the bathroom. Florence depicts these objects into almost abstract forms giving them the life and vitality that she sees in them. Hutchings paintings are characterised by an extremity of texture and layering, the result of constant repainting in almost all of her works as well as the incorporation of collaged elements within her paintings.
In March 2020, Hutchings’ work featured as part of Cob’s debut online group exhibition - Paintings On And With Paper. Since exhibiting with Cob, Hutchings’ has presented two further solo exhibitions and taken part in numerous group exhibitions. Hutchings’ fifth solo exhibition will take place in London in October 2021.
Hutchings graduated with a first class honours from The Slade School of Fine Art in 2019, where she also won the Lynn Painter’s Stainers Scholarship during her studies. Since her graduation, she has exhibited both in the UK and internationally as well as taken part in residencies both in the UK and the US including The Cabin, Los Angeles (2019) and PLOP Residency, London, (2018).
The largest presentation of Hutchings’ work took place at Saatchi Gallery in 2019, where eight large scale paintings were displayed in an exhibition titled Kaleidoscope. The paintings from that show were incorporated into the Charles Saatchi collection. Hutchings’ work has been profiled in numerous arts publications and also featured in Vogue.
Solo exhibitions include; The Doors of Perception, Delphian Gallery, London (upcoming 2021); Inside Out, Private and Public Gallery, Jersey (2021); The Place I Call Home, Union Gallery, London, UK, (2020); The Poetry of the Everyday, Beers London, London, UK (2019); Seating Arrangement, Delphian Gallery, London, (2021). Duo exhibitions include; The Space Between, Setareh Gallery, Düsseldorf, Germany (2020); A Kindred Spirit, Beers London, London, UK (2020); The Cabin - Florence Hutchings and Danny Romeril, Los Angeles, US (2019). Group exhibitions include; Eileen Agar: Another Look, The Redfern Gallery, London, UK (2021); Holding Hands, Union Gallery, London, UK (2021); Works on Paper 3, Blue Shop Cottage, UK (2021); Antisocial Isolation, Saatchi Gallery, London UK (2020-2021); FBA Futures, London Mall Galleries, London, UK (2020); Kaleidoscope, Saatchi Gallery, London, UK (2019).
Irvin Pascal (b. 1987) lives and works in Sussex, England. He holds a BA in Architecture (2008) and MA Fine Art, University of Brighton (2017). Pascal’s work first featured at Cob in 2018 as part of group exhibition NEW WORK PART II: Material and has since exhibited internationally in the US, Nigeria and Europe.
Irvin Pascal’s multidisciplinary practice includes painting, sculpture and performance and explores the representation of the black body, the nature of masculinity, sexuality, personal agency, the place of community and the reverberations of art history. Pascal’s work is a direct reflection of his experiences as an artist, a philosopher, and a man of African and Caribbean roots.
Pascal’s recent paintings are made from different organic materials and paint, a combination that generates texture variations and lends the works a collage appearance. Pascal has named the Abstract Expressionists, as well as figures associated with the School of London and Young British Artists as references. He draws further inspiration from an enormously broad range of figurative and abstract painting styles, as well as new-media art. Music is an additional significant source of inspiration to him. Fela Kuti and Bob Marley, but also Skepta, Drake, and even contemporary pop songs find their way into Pascal’s work.
Pascal has also become known for his arresting and monumental sculptural work. Totemic in appearance, they fluctuate between enigmatic and aggressive dressing questions of race and masculinity through a very certain deployment of material and its treatment. Aiming to dissolve the traditional division between painting and sculpture he constructs these from ebonised wood, through to paintings which utilise his own unique material called Pascollar. Pascollar is the result of years of experimenting with a variety of sculpting and painting materials can be formed like clay or plaster, but it surpasses these materials in stability, durability, and value. Pascal’s sculptures have their own ‘signature style’, akin to the individual brushstrokes on a painting that reveal the identity of the master. The versatility of Pascollar is even demonstrated in the medium of painting. He thus ultimately opens a new dialogue between his two and three-dimensional works.
Irivn Pascal was one of of the Bloomberg New Contemporaries exhibited at the BALTIC Centre for Contemporary Art, Newcastle in 2017 and since exhibiting at Cob has participated in Talisman in the age of difference, curated by Yinka Shonibare MBE, Stephen Friedman Gallery, London (2018). Recent performances include Royal XX XX at the Royal Academy of Arts, London (2020).
Solo exhibitions include No End to New Beginnings, County Gallery, Palm Beach, USA (2020); The Nenaissance, Niki Cryan, Lagos (Eko Atlantic), Nigeria (2019); The Sweetest Taboo, GNYP Gallery, Berlin (2018).
Group exhibitions include Young Monsters, curated by Marcelle Joseph, Lychee One, London (2019); PIAF, Copeland Gallery, London (2017); The Long Count, Von Goetz Art, London (2017); Atkinson Gallery, Somerset (2018); and BHM, Latham Watkins, London (2017). Irvin Pascal’s work is also included in collections such as Latham Watkins LLP.