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.
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.