Tomo

‘You First’ 180cm x 160cm Next show with @doubleqgallery Hong Kong in June x

Tomo Campbell | Happy Days | Final Day to view Campbell’s paintings are built through accumulation and return. Motifs are borrowed, revised, and folded back into new compositions so that each work carries the ghost of another within it. Figures, animals, and ornamental fragments drift between canvases as if borne by a current. The artist paints not from direct observation but from recollection; his images emerge from the memory of painting itself.   Colour functions as both pulse and interruption. Where earlier works drew on the restraint of fresco and historical palette, here it mutates into something synthetic: sharp magentas, theatrical greens, near-digital blues. These jolts prevent the viewer from drifting into nostalgia, insisting that the act of looking and of painting remains defiantly contemporary.   History enters not as citation but as atmosphere. Mughal hunts, medieval unicorns, and classical fragments persist only as traces, pliable matter to be cut, repeated, or dissolved. In Campbell’s hands, hierarchy collapses: figures and foliage, relic and residue share equal weight. Each canvas becomes less a window than a surface that holds itself together through its own disarray, a patchwork of vivid, precarious gestures. Tomo Campbell Elsewhere, 2025 Oil on canvas 110 x 120 cm 43 1/4 x 47 1/4 in My My, 2025 Oil on canvas 90 x 120 cm 35 3/8 x 47 1/4 in Just Maybe, 2025 Oil on canvas 120 x 140 cm 47 1/4 x 55 1/8 in

Tomo Campbell | Happy Days | Until 06 December Campbell’s paintings are built through accumulation and return. Motifs are borrowed, revised, and folded back into new compositions so that each work carries the ghost of another within it. Figures, animals, and ornamental fragments drift between canvases as if borne by a current. The artist paints not from direct observation but from recollection; his images emerge from the memory of painting itself.   He likens his process to tapestry, both in physical presentation and conceptual layering. Like woven textiles, the works stitch together diverse motifs and imagery, hot and cold, fast and slow, old and new, into intricate, layered compositions. When individual canvases are displayed apart from the main frieze, this continuity fractures, producing a sense of glitch or disruption, as if the patchwork momentarily threatens to unravel. This interplay of cohesion and tension reinforces the dualities at the heart of Campbell’s practice, keeping the viewer suspended between expectation and surprise. Tomo Campbell Keep, 2025 Oil on canvas 173 x 273 cm 68 1/8 x 107 1/2 in #cobgallery

Tomo Campbell | Happy Days | Until 06 December Happy Days takes its title from Samuel Beckett’s 1961 play, in which a woman is gradually buried in the earth while continuing her daily rituals. The phrase “happy days” becomes her refrain, both cheerful and fatal, an optimism uttered in the face of inevitability. Campbell’s figures persist in a similar condition: provisional presences, half-submerged in dragged colour and pattern, surviving amid the instability that threatens to erase them. Their gestures, washing, lifting, pouring, are fragile repetitions, looping without resolution. The title also echoes everyday speech. In English, “happy days” is a throwaway idiom used for celebration, resignation, or irony. Campbell embraces this ambiguity. His paintings occupy the same register: intricate yet unstable, layered yet always on the verge of collapse.   The exhibition continues Campbell’s exploration of the frieze format, building on his presentation at The Armory Show, New York (2024). The arrangement forms a continuous sequence in which motifs and visual elements flow seamlessly from one work to the next. From the gallery’s entrance, the sightline suggests an unbroken continuum, wrapping around the architectural features of the space. Tomo Campbell Well, 2025 Oil on canvas 160 x 150 cm 63 x 59 in Tomo Campbell That’s What I Always Say, 2025 Oil on canvas 160 x 320 cm 63 x 126 in Tomo Campbell And Then, 2025 Oil on canvas 160 x 83 cm 63 x 32 5/8 in

‘Elsewhere’ 110cm x 120cm @cobgallery

Cob Gallery is pleased to present Happy Days, British artist Tomo Campbell’s fourth solo exhibition at the gallery. Tomo Campbell Happy Days 7 Nov - 6 December Happy Days takes its title from Samuel Beckett’s 1961 play, in which a woman is gradually buried in the earth while continuing her daily rituals. The phrase “happy days” becomes her refrain, both cheerful and fatal, an optimism uttered in the face of inevitability. Campbell’s figures persist in a similar condition: provisional presences, half-submerged in dragged colour and pattern, surviving amid the instability that threatens to erase them. Their gestures, washing, lifting, pouring, are fragile repetitions, looping without resolution. The title also echoes everyday speech. In English, “happy days” is a throwaway idiom used for celebration, resignation, or irony. Campbell embraces this ambiguity. His paintings occupy the same register: intricate yet unstable, layered yet always on the verge of collapse.   The exhibition continues Campbell’s exploration of the frieze format, building on his presentation at The Armory Show, New York (2024). The arrangement forms a continuous sequence in which motifs and visual elements flow seamlessly from one work to the next. From the gallery’s entrance, the sightline suggests an unbroken continuum, wrapping around the architectural features of the space. Tomo Campbell Signal, 2025 Oil on canvas 160 x 150 cm 63 x 59 in #tomocampbell

Cob Gallery is pleased to present Happy Days, British artist Tomo Campbell’s fourth solo exhibition at the gallery, comprising a suite of seven oil paintings on canvas. Opening 6 November, 6-9pm Happy Days takes its title from Samuel Beckett’s 1961 play, in which a woman is gradually buried in the earth while continuing her daily rituals. The phrase “happy days” becomes her refrain, both cheerful and fatal, an optimism uttered in the face of inevitability. Campbell’s figures persist in a similar condition: provisional presences, half-submerged in dragged colour and pattern, surviving amid the instability that threatens to erase them. Their gestures, washing, lifting, pouring, are fragile repetitions, looping without resolution. Tomo Campbell Happy Days 7 Nov - 6 December #tomocampbell

‘For Ages’ @tomocampbell Now live: a limited edition print released as part of the Timed Release series, curated by @milliebrownworld with @white_label_editions . The series unites artists raising funds for @thezaynabproject and their life-saving humanitarian work in Gaza. Available 10-24 October whitelabeleditions.com (International shipping available) Archival pigment print, 24 x 18 in. Signed and numbered, available for two weeks only. The number sold determines the final edition size. @martin_creed @vincapetersen @linairisviktor @patrick_martinez_studio @maripolarama @eddie_peake @romanedewatt @nabil @milliebrownworld @nadabaraka_ @MATTHEWSTONEART @adham_faramawy @gaiastreetart @talilennox @hazemharb @kennyscharf @miles.greenberg

‘Almost Always Without Saying’ 90cm x 110cm @burberry

‘Meanwhile’ 106cm x 126cm

@everton

‘If By Then’ 173cm x 273cm 2025 Showing over Frieze Seoul with @burberry Burberry Seoul Flagship, 459 Dosan-daero, Gangnam gu, Seoul X @dartseoul @hempton @martyncross