Cob Studios & Gallery

07/10/2026

Katelyn Eichwald | Frieze London 2026

Cob presents a solo presentation of new paintings by Katelyn Eichwald for Frieze London 2026, bringing together works on linen and canvas that vary in size while remaining deliberately intimate in scale.

Materiality plays an important role in Eichwald’s practice, with the texture and character of her chosen surfaces shaping both the appearance and affect of her paintings. The works draw on recurring fragments of bodies, domestic interiors, tools, garments, landscapes and cinematic details, sourced from film, literature, memory and everyday observation.

The paintings appear almost like snapshots: fleeting, seemingly unconnected images whose relationships remain elusive. A body, landscape, garment or isolated object appears without explanation, as if recalled from a dream already beginning to dissolve. Operating through mood rather than narrative, these fragments feel at once intimate, familiar and difficult to place.

Through this attention to intimacy, perception and memory, Eichwald’s paintings reward close engagement over time. Bringing together a significant group of new works, the presentation offers a focused view of the distinctive language and sensibility underpinning her practice.

A Small Mistake, 2026
Oil on canvas
10.2 x 15.2 cm
4 x 6 in

Sub Rosa, 2026
Oil on canvas
15.2 x 15.2 cm
6 x 6 in

Companion, 2026
Oil on linen
10.2 x 10.2 cm
4 x 4 in

In the Back by the Fountain, 2026
Oil on canvas
15.2 x 10.2 cm
6 x 4 in

Andy, 2026
Oil on canvas
15.2 x 15.2 cm
6 x 6 in

Katelyn Eichwald Frieze

05/10/2026

Edmond Brooks-Beckman | Persistent Undoing | 10 October - 12 November

Opening: 9 October, 4 - 8pm to coincide with the ‘2026 Frieze Week London Gallery Moments: Bloomsbury Afternoon’

Persistent Undoing considers how memory and cultural inheritance are not fixed or stable, but continually rewritten, concealed, and rediscovered. Marks may become illegible, symbols may mutate into personal iconographies, and stories may survive not through clarity but through traces. For Brooks-Beckman, the artwork becomes a site where language, ritual, and memory are materially embedded and reactivated.

Edmond Brooks-Beckman
Binding Rivulets, 2026
Oil on canvas
130 x 145 cm

04/10/2026

02/10/2026

Jack Davison | A is For Ant | Les Rencontres D’Arles 2026

Best Of The Night Of The Year
Until 4 October
Ancien Collège Mistral
2 bis Rue Condorcet
13200 Arles, France

Cob Gallery is proud to have participated in the 2026 edition of Les Rencontres d’Arles, presenting the work of Jack Davison across two exhibitions spanning moving image and photography.

Opening the festival as part of The Night of the Year, Davison’s short film A is for Ant (2024) was screened at the former Papeteries Étienne before being selected for Best of The Night of the Year 2026, where it has continued to screen throughout the festival at the Ancien Collège Mistral.

Made in collaboration with Shona Heath, A is for Ant brings Davison’s distinctive photographic language into motion. Conceived as a living alphabet, the film unfolds through a playful and surreal sequence of characters, objects and unexpected encounters, shaped by light, movement and transformation.

Our sincere thanks to the entire team at Les Rencontres d’Arles for including Jack’s work in this year’s festival.

28/09/2026

Final week to view - TJ Rinoski | Hermit | Until 03 October
 
Rinoski imagines the Hermit as someone who has already endured the full accumulation of a life: grief, shame, regret, self-hatred, joy and stillness. Objects, rooms and landscapes become repositories for these experiences, carrying emotional histories whose particulars have begun to dissolve. A small gesture, a change in light or a glimpse of water can assume the weight of something much larger.
 
Time behaves strangely within this world. The clocksmith’s measured time gives way to the rhythms of tides, weather, daylight and repetition, while memory, dream and observation continually bleed into one another. The sea, a recurring presence throughout Rinoski’s work, becomes both horizon and enclosure - suggesting departure while continually returning the Hermit to the same shore.
 
At the centre of Hermit is painting itself. For Rinoski’s alter ego, painting is neither documentation nor escape, but a means of processing existence, as necessary as breathing. Within this suspended world, he orchestrates what Rinoski describes as “songs from colour mud”, allowing ordinary objects and quiet moments to carry the weight of entire lifetimes.

TJ Rinoski
Studio, 2026
Oil on raw canvas mounted on panel
33 x 25.5 cm
13 x 10 in

Sink, Sea, 2026
Oil on raw canvas mounted on panel
30 x 24 cm
11 3/4 x 9 1/2 in

Deep Cut, 2026
Oil on raw canvas mounted on panel
40 x 33 cm
15 3/4 x 13 in

Night Owl, 2026
Oil on raw canvas mounted on panel
21 x 21 cm
8 1/4 x 8 1/4 in

I Hide, 2026
Oil on canvas
25.5 x 25.5 cm
10 x 10 in

19/09/2026

TJ Rinoski | Hermit | Until 03 October
 
Rinoski’s paintings occupy the uncertain territory between memory, observation and invention. Working predominantly in oil on raw or minimally prepared canvas, he builds images through stained colour and worked surfaces, giving them the faded tactility of old photographs or half-remembered scenes. Domestic interiors, landscapes and ordinary objects recur throughout his work, removed from definitive narratives and instead charged with an atmosphere that feels at once intimate and unknowable.
 
For Hermit, these concerns coalesce around a character Rinoski describes as his painting alter ego. The Hermit is an elderly, hunched man who inhabits a dusty cottage beside the sea, moving slowly among weathered possessions, shifting light and the landscape beyond his windows. He exists somewhere outside ordinary time.
 
The character is an amalgamation of Rinoski’s two grandfathers: one a beachcomber and diver, perpetually in a bathing suit and restless to push his boat back towards open water; the other a clocksmith, whose life was defined by patience, precision and the careful repair of intricate mechanisms. Within the Hermit, these opposing temperaments - restlessness and stillness, the expansiveness of the sea and the measured interior world of the clock - collapse into a single imagined consciousness.

My Father’s Head, 2026
Oil on raw canvas mounted on panel
41 x 31 cm
16 1/8 x 12 1/4 in

Sunflower, 2026
Oil on raw canvas mounted on panel
33 x 25 cm
13 x 9 7/8 in

Waking Up, 2026
Oil on raw canvas mounted on panel
17.5 x 14 cm
6 7/8 x 5 1/2 in

09/09/2026

TJ Rinoski | Hermit | Until 03 October
 
Rinoski’s paintings occupy the uncertain territory between memory, observation and invention. Working predominantly in oil on raw or minimally prepared canvas, he builds images through stained colour and worked surfaces, giving them the faded tactility of old photographs or half-remembered scenes. Domestic interiors, landscapes and ordinary objects recur throughout his work, removed from definitive narratives and instead charged with an atmosphere that feels at once intimate and unknowable.
 
For Hermit, these concerns coalesce around a character Rinoski describes as his painting alter ego. The Hermit is an elderly, hunched man who inhabits a dusty cottage beside the sea, moving slowly among weathered possessions, shifting light and the landscape beyond his windows. He exists somewhere outside ordinary time.
 
The character is an amalgamation of Rinoski’s two grandfathers: one a beachcomber and diver, perpetually in a bathing suit and restless to push his boat back towards open water; the other a clocksmith, whose life was defined by patience, precision and the careful repair of intricate mechanisms. Within the Hermit, these opposing temperaments - restlessness and stillness, the expansiveness of the sea and the measured interior world of the clock - collapse into a single imagined consciousness.

Hermit II, 2026
Oil on raw canvas mounted on panel
30 x 23 cm
11 3/4 x 9 in

Him, 2026
Oil on raw canvas mounted on panel
18.5 x 15 cm
7 1/4 x 5 7/8 in

Gathering, 2026
Oil on raw canvas mounted on panel
30 x 23 cm
11 3/4 x 9 in

Salt, 2026
Oil on raw canvas mounted on panel
36 x 27 cm
14 1/8 x 10 5/8 in

Ghost Crab, 2026
Oil on raw canvas mounted on panel
18 x 15 cm
7 1/8 x 5 7/8 in

Like A Mirror, 2026
Oil on raw canvas mounted on panel
21 x 18 cm
8 1/4 x 7 1/8 in

01/09/2026

Cob Gallery is pleased to present Hermit, the second solo presentation with the gallery by Virginia-based artist TJ Rinoski.

Opening 03 September, 6-8pm
Cob | 84a Lamb’s Conduit ST, London, WC1N 3LT

Rinoski’s paintings occupy the uncertain territory between memory, observation and invention. Working predominantly in oil on raw or minimally prepared canvas, he builds images through stained colour and worked surfaces, giving them the faded tactility of old photographs or half-remembered scenes. Domestic interiors, landscapes and ordinary objects recur throughout his work, removed from definitive narratives and instead charged with an atmosphere that feels at once intimate and unknowable.

For Hermit, these concerns coalesce around a character Rinoski describes as his painting alter ego. The Hermit is an elderly, hunched man who inhabits a dusty cottage beside the sea, moving slowly among weathered possessions, shifting light and the landscape beyond his windows. He exists somewhere outside ordinary time.

The character is an amalgamation of Rinoski’s two grandfathers: one a beachcomber and diver, perpetually in a bathing suit and restless to push his boat back towards open water; the other a clocksmith, whose life was defined by patience, precision and the careful repair of intricate mechanisms. Within the Hermit, these opposing temperaments - restlessness and stillness, the expansiveness of the sea and the measured interior world of the clock - collapse into a single imagined consciousness.

TJ Rinoski
Hermit II, 2026
Oil on raw canvas mounted on panel
30 x 23 cm
11 3/4 x 9 in

28/07/2026

Ever Baldwin & Magdalena Skupińska
Tuning Ground | Until 08 Aug
Cob | 84a Lamb’s Conduit Street, London, WC1N 3LT

Tuning Ground continues at Cob, a duo presentation bringing together new works by Ever Baldwin and Magdalena Skupińska. While distinct in approach, both artists treat painting as a site of material transformation, where natural processes become integral to the work itself.

Skupińska’s practice centres on the transformative properties of natural materials. Working with plant-derived pigments, minerals and organic compounds, she creates paintings through processes of extraction, layering and chemical change. Presented on arched wooden panels within hand-carved sapele surrounds inspired by Byzantine icon painting, these works incorporate materials including sandalwood, amber, lapis lazuli, cinnamon and turmeric. The resulting paintings balance abstraction with the material language of devotional painting, allowing each ingredient to shape the final composition.

Baldwin’s practice moves between painting and sculpture. Richly textured oil paintings, built with marble dust and wax, are set within hand-carved pine frames that have been charred or bleached before being finished with a milk paint wash. These sculptural frames extend the imagery beyond the canvas as bodies and architectural forms emerge and recede between recognition and abstraction.

Together, the works create a compelling dialogue between transformation, erosion and material presence.

Ever Baldwin
Gather me against it, 2026
Oil on canvas in bleached pine frame with milk paint wash
39.4 x 33 x 10.2 cm
18 x 12.5 x 5 inches

Magdalena Skupińska
Untitled, 2026
Australian sandalwood, ashuwaganda and madder lake on wood
15 x 50 cm
5 7/8 x 19 3/4 in

ercolano, 2026
Ashuwaganda, caput mortuum, ercolano, blue spirulina and ultramarine on wood
15 x 50 cm
5 7/8 x 19 3/4 in

Ever Baldwin
Yes, my wings, 2026
Oil on canvas in charred pine frame
97.8 x 119.4 x 12.7 cm
38.5 x 47 x 5 inches

Magdalena Skupińska
blue canel, 2026
Cinnamon and lapis lazuli on wood
15 x 50 cm
5 7/8 x 19 3/4 in

ra ray, 2026
Amber and yellow ochre on wood
15 x 50 cm
5 7/8 x 19 3/4 in

28/07/2026

Ever Baldwin & Magdalena Skupińska | Tuning Ground Until 08 Aug
Cob | 84a Lamb’s Conduit Street, London, WC1N 3LT

Tuning Ground continues at Cob, a duo presentation bringing together new works by Ever Baldwin and Magdalena Skupińska. While distinct in approach, both artists treat painting as a site of material transformation, where natural processes become integral to the work itself.

Skupińska’s practice centres on the transformative properties of natural materials. Working with plant-derived pigments, minerals and organic compounds, she creates paintings through processes of extraction, layering and chemical change. Presented on arched wooden panels within hand-carved sapele surrounds inspired by Byzantine icon painting, these works incorporate materials including sandalwood, amber, lapis lazuli, cinnamon and turmeric. The resulting paintings balance abstraction with the material language of devotional painting, allowing each ingredient to shape the final composition.

Baldwin’s practice moves between painting and sculpture. Richly textured oil paintings, built with marble dust and wax, are set within hand-carved pine frames that have been charred or bleached before being finished with a milk paint wash. These sculptural frames extend the imagery beyond the canvas as bodies and architectural forms emerge and recede between recognition and abstraction.

Together, the works create a compelling dialogue between transformation, erosion and material presence.

Ever Baldwin
Gather me against it, 2026
Oil on canvas in bleached pine frame with milk paint wash
39.4 x 33 x 10.2 cm
18 x 12.5 x 5 inches

Magdalena Skupińska
Untitled, 2026
Australian sandalwood, ashuwaganda and madder lake on wood
15 x 50 cm
5 7/8 x 19 3/4 in

ercolano, 2026
Ashuwaganda, caput mortuum, ercolano, blue spirulina and ultramarine on wood
15 x 50 cm
5 7/8 x 19 3/4 in

Ever Baldwin
Yes, my wings, 2026
Oil on canvas in charred pine frame
97.8 x 119.4 x 12.7 cm
38.5 x 47 x 5 inches

Magdalena Skupińska
blue canel, 2026
Cinnamon and lapis lazuli on wood
15 x 50 cm
5 7/8 x 19 3/4 in

ra ray, 2026
Amber and yellow ochre on wood
15 x 50 cm
5 7/8 x 19 3/4 in