Work by:

EC, Robin Greenwood, Sarah Greenwood, Dean Piacentini, John Pollard., Block K, 13 Bell Yard Mews, 175 Bermondsey Street, London SE1 3UW

Exhibition opens December 2022, and continues to late January 2023.

Visit by prior appointment, preferably Thursday-Sunday, 2-7 pm.                   

Text your name and requested date and time to 07866 583629, for return.

The entrance to Bell Yard Mews is opposite White Cube in Bermondsey Street.  

Block K is at the rear of the mews: the gallery is on the 1st floor, no lift.

This is the eleventh exhibition of

EC, “Slipstream”, 2020-22, 35x40cm

EC, “Sentient Twist”, 2022, 180x120cm

EC, “Solution Protest”, 2012-22, 100x100cm

Robin Greenwood, “P.4106”, 2022-22, 148x150cm

Robin Greenwood, “S.4091”, 2022, H.45cm

Robin Greenwood, “S.4094”, 2022, H.61cm

Sarah Greenwood, untitled patchwork, 2022, 45x45cm

Sarah Greenwood, untitled patchwork, 2022, 45x45cm

Sarah Greenwood, untitled patchwork, 2022, 45x45cm

Dean Piacentini, “Windfall”, 2022, 90c75cm

Dean Piacentini, “Dithered Glitch”, 2022, 50v50cm

Dean Piacentini, “Overflow”, 2022, 99x100cm

John Pollard, “Brutal World”, 2016, 150x120cm

John Pollard, “A Passing Shadow”, 2022, 80x60cm

John Pollard, “Allegro Ma Non Troppo”, 2022, 60x80cm

Works now showing in December 2022 – January 2023


  1. I’m interested but what to say about photographs of Paintings and Sculpture?
    Oh OK, most interesting are the various Greenwoods, the Painting by Robin has an apparent surface integrity similar to the Sarah ‘patchworks’. Something seemingly missing from the other Painters in the presentation, lot’s of background and foreground, black and white used as filler.
    The 2016 Pollard and Piacentini’s ‘Dithering Bitch’ are different.
    EC, hmmm, very difficult, not really sure what i am looking at.
    The Sculpture is where it’s at, looking forward to experiencing that in 3D!


    1. One reason to go in person is to see that “black” is sometimes a very thick viridian green oil bar, an ultramarine or a raw umber – in some cases, not all. That’s the problem with photography. So many red herrings.

      Good you don’t know what you’re looking at with my work. At least it is to me.


    2. For example the fairly central “splashes” of “black” in Dean’s “Dithered Glitch” are not at all black. More a mid value purple brown. I wish I could post some detail shots here from various works (the camera can cope more with the colour relationships and doesn’t generalise everything dark to black).

      I’m not so sure that when black is being used that it’s a “filler” either. Certainly it is a force but there are different blacks, ranging from the industrial and inert to the more luminous and mixed (not out of tube). But to see any of this requires close looking in real life.


      1. EC ecrit ‘I’m not so sure that when black is being used that it’s a “filler” either.’

        Yeah, wrong word, i probably meant ‘placeholder’ and mostly in response to Piacentini. The ‘blacks’ in Pollard seem more integrated, in R Greenwood non-existent and in S Greenwood, irrelevant. Reading back my post i feel it totally unfair….i blame Robin’s ‘ anyone interested?’, i felt i should declare an interest and that seemed to oblige comment.
        I’ll go see the show.
        I might, then, know what i’m looking at 🙂


  2. I went to see this show on Monday and it was great to see and experience the materiality of the works.
    It is a very coherent exhibition with abundant connectivity between all the paintings and sculptures.
    Although collaged works can sometimes have a similar feel, I found the exhibits here were very individual; density in John Pollard’s, light and luminosity in Dean Piacentini’s, complexity in EC’s, rich colour and depth in Robin Greenwood’s, abstract rhythm and movement in Sarah Greenwood’s textiles.
    The fabulous sculptures by Robin echoed the movement and dynamics of the 2D paintings/collages.


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