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Excited to be a part of Harry’s Meltdown Festival. I’ll be in conversation at Southbank Centre on 13 June, recording a live episode of The Distraction Pieces Podcast with Scroobius Pip. Tickets on general sale Friday.

@southbankcentre @scroobiuspipyo @harrystyles
#meltdownfest

‘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 | 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 | 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 | 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 | 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 | 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 | 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 | 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 | 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

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

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

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

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

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

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

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

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

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

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

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.

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.

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

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

‘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

‘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

‘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

‘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

‘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

‘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

‘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

‘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

‘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

‘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

‘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