BLIND SPOT
DUO SHOW WITH CHLOE BEDDOW
PIPELINE
LONDON
22 JAN - 21 MAR
2O26
Blind Spot brings together new works by Chloe Beddow and Leon Scott-Engel, whose practices are united by an inquiry into how care is designed, felt, and made visible. Working across the expanded fields of painting and sculpture, the two artists propose alternative narratives for how care can be constructed and perceived.
Led by a curiosity about who the world is designed and built for, Chloe Beddow creates hand-drawn digital painting made from embodied materials such as leather, wood and velvet to create works that exist between painting and sculpture. In this new body of work, Beddow challenges the relationship between care and desirability, using grandeur and ornamentation to revalue objects associated with disability and access. By adorning her works with visceral fabrics, she employs opulence as a deliberate strategy to disrupt hierarchies of value, insisting that moments of care and accessibility deserve the same attention and reverence as objects traditionally deemed desirable.
Leon Scott-Engel approaches painting as a physical object, one that occupies, responds to and reshapes space. For Blind Spot, Scott-Engel turns his attention to the interior anatomy of space. A large grid-like structure spans the gallery ceiling, modelled on a hospital waiting room. Scott-Engel reflects on the design of care within such settings and considers how these structures might be reimagined. The paintings’ leaf motif functions as a quiet symbol for healing, transformation and grief. Referencing cycles of growth and renewal, the motif underscores the emotional and bodily experiences embedded within environments of care. While the grid suggests order and repetition - a format historically associated with stability and control, particularly within mental health contexts - the subtle variation across each panel introduces temporality, movement and atmosphere, creating a space that feels transitional rather than fixed.
Blind Spot asks viewers to consider where care is made visible, where it is overlooked, and how it might be reimagined through material, space, and aesthetic value. By foregrounding accessibility, vulnerability, and environment, the exhibition invites a reconsideration of how care is experienced, both personally and collectively, and who it ultimately serves.
Chloe Beddow (b. 1999, London, UK) lives and works in London. She completed her BA in Painting and Printmaking at The Glasgow School of Art (2022) before undertaking her MFA in Painting at The Slade School of Fine Art, London (2024). Recent group and duo exhibitions include: SPT Project Space, London (2025); Twilight Contemporary, London (2025); Chilli Gallery, London (2025); Fitzrovia Gallery, London (2025); Algha Group Ltd, London (2024); Split Gallery, London (2024); Chilli Arts Projects, London (2024); Royal Scottish Academy, Edinburgh (2024); Greatorex Street, London (2024). Beddow has received several awards, including the Desiree Painting Prize for the Slade School of Fine Art Postgraduate Degree Show (2024), the Sarabande Fund for Emerging Artists (2024), and the James Nicol McBroom Memorial Prize for Fine Art (2022). She was selected as a finalist for Tagli Mentorship Award (2025) as well as by the Royal Scottish Academy as a New Contemporary (2024).
Leon Scott-Engel (b.1999, London, UK) lives and works in London. He completed his BA at Glasgow School of Art (2022) and was awarded the Richard Ford Award and Research Residency at the Museo Del Prado, Madrid. Solo and duo exhibitions include: Pipeline, London (2023); Flexitron hosted by Pipeline, London (2023). Recent group exhibitions include Pipeline, London (2025); The Tagli, London (2025); Walker Art Gallery, Liverpool (2025); Hot Sheet, London (2025); Standpoint Gallery, London (2025); Flexitron, London (2025); Lea Bridge Library Pavilion, curated by Alex Fox, London (2024); HBH Gallery, London (2024); Saatchi Gallery, curated by Delphian Gallery, London (2024); Split, London (2023); Liliya Art Gallery, London (2024); Warbling, London (2022); Black White Gallery, London (2022); Transmission Gallery, Glasgow (2022) and D Contemporary, London (2022). His work has been exhibited at Swab art fair with Neven and Split, Barcelona (2024).
Special thanks to Ramy El-Madany for their support of the artist in this exhibition.
While this exhibition is not physically accessible to everyone, we want to openly acknowledge this limitation and use it as a point of critical reflection rather than omission. The gallery’s location on the third floor invites us to consider access and how art might be made visible and experienced. Through expanded modes of participation, we seek to acknowledge those with access needs and ask how we might respond with care and responsibility. Please visit our website for information and updates.
IN THE PIPELINE: LEON SCOTT-ENGEL AND CHLOE BEDDOW
PIPELINE, LONDON
25 NOV 2025 - 10 JAN 2026
This room presents a single artwork by the artist/artists whose exhibition is next in the program. It is a space directed by the artist, selected to reveal particulars of their current practice or potentials for the future whilst providing essential context ahead of their exhibition.
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Leon Scott-Engel
Letting go
2024
Oil on Plywood
25cm x 35cm
Pipeline: What does this space mean for you?
Leon Scott-Engel: The pipeline, for me, holds an intimate, almost private feeling. It’s a space to gently invite new ideas and directions into the work ahead of the show, giving the viewer a peek behind the curtain at what’s to come, without giving too much away.
P: Why have you chosen to present this work in advance of your upcoming exhibition?
LS-E: ‘Letting go’ (2024) is a work that holds a deep level of meaning to me, and I have intentionally waited to share it until it felt like the right moment. Painted following the passing of a loved one and in the following stages of grief, this work marked the beginning of what has now become a greater exploration of healing, growth and the interior anatomy of spaces designed for care.
P: To what extent does it relate to the work in your upcoming exhibition?
LS-E: It was during the immediate processing of my visit to see my grandmother in the hospital, and the following stages of witnessing and experiencing grief, that I began to seriously think about the interior anatomy of the spaces we have designed for care, and how we could make them feel warmer; something I am deeply interested in exploring in my work at the moment, and a central concern within the new work I am presenting in the upcoming show.
P: How does this work sit within your overall practice?
LS-E: ‘Letting go’ links to my overall practice through it’s softness. Across much of my work I focus on softness, and subsequently care, in different forms. Whether that be through the imagery, the way paint is applied, or the soft form nature of the more sculptural/curved canvas works, I am often thinking about how space can be held for a feeling or moment, both physically and emotionally.
* * *
Leon Scott-Engel (b.1999, London, UK) lives and works in London. He completed his BA at Glasgow School of Art in 2022 and was awarded the Richard Ford Award and Research Residency at the Museo Del Prado, Madrid. Recent solo and duo exhibitions include: Pipeline, London (2023); Flexitron hosted by Pipeline, London (2023). Recent group shows include The Tagli, London (2025); Walker Art Gallery, Liverpool (2025); Hot Sheet, London (2025); Standpoint Gallery, London (2025); Flexitron, London (2025); Lea Bridge Library Pavilion, curated by Alex Fox, London (2024); HBH Gallery, London (2024); Saatchi Gallery, curated by Delphian Gallery, London (2024); Split, London (2023); Liliya Art Gallery, London (2024); Warbling, London (2022); Black White Gallery, London (2022); Transmission Gallery, Glasgow (2022) and D Contemporary, London (2022). His work has been exhibited at Swab art fair with Neven and Split, Barcelona (2024).
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Chloe Beddow
Penumbra
2025
Digital painting laser etched onto acrylic
3 Panels: 66cm x 23cm, 66cm x 34cm, 66cm x 31cm
Pipeline:What does this space mean for you?
Chloe Beddow: When presented in exhibitions art is often seen at its finishing point. To me, the pipeline helps bridge the gap between the studio and the gallery, the artwork and the artist. It has provided a well-rounded and in-depth introduction that gives the viewer a glimpse into my studio, the processes and materials that I work with, and the concepts that make up my practice.
P: Why have you chosen to present this work in advance of your upcoming exhibition?
CB: ‘Penumbra’ introduces key themes in my work, both materially and conceptually. Materially I am interested in expanding the parameters of painting. I use all the technical considerations of making a painting - composition, surface treatment and mark making - but without the physical paint. I am fascinated by how mark-making can slow the gaze across a surface, and by how it can be combined with the material associations of the interiors and exteriors we encounter every day to create new meanings and ways of looking. Conceptually this work also introduces the key themes of care, visibility, accessibility, design and the body in space.
P: To what extent does it relate to the work in your upcoming exhibition?
CB: The image in ‘Penumbra’ was from a photograph I took of my mum wearing elbow length silk gloves whilst sitting in her wheelchair. I was interested in the visual collision of the silk gloves and the wheelchair, both carrying such different associations that are not normally conjoined. It made me think a lot about
glamour, elegance, seduction and beauty in relation to functionality, durability and structure. These are all themes that became the foundation of thought for my new body of work.
P: How does this work sit within your overall practice?
CB: This work explores my long-standing interest in the line between absence and presence, for is anything ever fully absent or are we just not looking for it? ‘Penumbra’ scrutinises the notion of an invisible woman and speaks to how the placement of our gaze and bodies affects our perception. This work requires the viewer to walk around the painting to allow the mark making to catch the light and unearth the image depicted.
* * *
Chloe Beddow (b. 1999, London, UK) lives and works in London. She completed her BA in Painting and Printmaking at The Glasgow School of Art (2022) before undertaking her MFA in Painting at The Slade School of Fine Art, London (2024). Recent and forthcoming group/duo exhibitions include: SPT Project Space, London (2025);Twilight Contemporary, London (2025); Chilli Arts Projects, London (2025); Fitzrovia Gallery, London (forthcoming, 2025); Algha Group Ltd, London (2024); Split Gallery, London (2024); Chilli Arts Projects, London (2024); Royal Scottish Academy, Edinburgh (2024); Greatorex Street, London (2024). Beddow has received several awards, including the Desiree Painting Prize for the Slade School of Fine Art Postgraduate Degree Show (2024), the Sarabande Fund for Emerging Artists (2024), and the James Nicol McBroom Memorial Prize for Fine Art (2022). She was also selected by the Royal Scottish Academy as a New Contemporary for 2024.
Leon Scott-Engel
Letting go
2024
Oil on Plywood
25cm x 35cm
Pipeline: What does this space mean for you?
Leon Scott-Engel: The pipeline, for me, holds an intimate, almost private feeling. It’s a space to gently invite new ideas and directions into the work ahead of the show, giving the viewer a peek behind the curtain at what’s to come, without giving too much away.
P: Why have you chosen to present this work in advance of your upcoming exhibition?
LS-E: ‘Letting go’ (2024) is a work that holds a deep level of meaning to me, and I have intentionally waited to share it until it felt like the right moment. Painted following the passing of a loved one and in the following stages of grief, this work marked the beginning of what has now become a greater exploration of healing, growth and the interior anatomy of spaces designed for care.
P: To what extent does it relate to the work in your upcoming exhibition?
LS-E: It was during the immediate processing of my visit to see my grandmother in the hospital, and the following stages of witnessing and experiencing grief, that I began to seriously think about the interior anatomy of the spaces we have designed for care, and how we could make them feel warmer; something I am deeply interested in exploring in my work at the moment, and a central concern within the new work I am presenting in the upcoming show.
P: How does this work sit within your overall practice?
LS-E: ‘Letting go’ links to my overall practice through it’s softness. Across much of my work I focus on softness, and subsequently care, in different forms. Whether that be through the imagery, the way paint is applied, or the soft form nature of the more sculptural/curved canvas works, I am often thinking about how space can be held for a feeling or moment, both physically and emotionally.
* * *
Leon Scott-Engel (b.1999, London, UK) lives and works in London. He completed his BA at Glasgow School of Art in 2022 and was awarded the Richard Ford Award and Research Residency at the Museo Del Prado, Madrid. Recent solo and duo exhibitions include: Pipeline, London (2023); Flexitron hosted by Pipeline, London (2023). Recent group shows include The Tagli, London (2025); Walker Art Gallery, Liverpool (2025); Hot Sheet, London (2025); Standpoint Gallery, London (2025); Flexitron, London (2025); Lea Bridge Library Pavilion, curated by Alex Fox, London (2024); HBH Gallery, London (2024); Saatchi Gallery, curated by Delphian Gallery, London (2024); Split, London (2023); Liliya Art Gallery, London (2024); Warbling, London (2022); Black White Gallery, London (2022); Transmission Gallery, Glasgow (2022) and D Contemporary, London (2022). His work has been exhibited at Swab art fair with Neven and Split, Barcelona (2024).
Chloe Beddow
Penumbra
2025
Digital painting laser etched onto acrylic
3 Panels: 66cm x 23cm, 66cm x 34cm, 66cm x 31cm
Pipeline:What does this space mean for you?
Chloe Beddow: When presented in exhibitions art is often seen at its finishing point. To me, the pipeline helps bridge the gap between the studio and the gallery, the artwork and the artist. It has provided a well-rounded and in-depth introduction that gives the viewer a glimpse into my studio, the processes and materials that I work with, and the concepts that make up my practice.
P: Why have you chosen to present this work in advance of your upcoming exhibition?
CB: ‘Penumbra’ introduces key themes in my work, both materially and conceptually. Materially I am interested in expanding the parameters of painting. I use all the technical considerations of making a painting - composition, surface treatment and mark making - but without the physical paint. I am fascinated by how mark-making can slow the gaze across a surface, and by how it can be combined with the material associations of the interiors and exteriors we encounter every day to create new meanings and ways of looking. Conceptually this work also introduces the key themes of care, visibility, accessibility, design and the body in space.
P: To what extent does it relate to the work in your upcoming exhibition?
CB: The image in ‘Penumbra’ was from a photograph I took of my mum wearing elbow length silk gloves whilst sitting in her wheelchair. I was interested in the visual collision of the silk gloves and the wheelchair, both carrying such different associations that are not normally conjoined. It made me think a lot about
glamour, elegance, seduction and beauty in relation to functionality, durability and structure. These are all themes that became the foundation of thought for my new body of work.
P: How does this work sit within your overall practice?
CB: This work explores my long-standing interest in the line between absence and presence, for is anything ever fully absent or are we just not looking for it? ‘Penumbra’ scrutinises the notion of an invisible woman and speaks to how the placement of our gaze and bodies affects our perception. This work requires the viewer to walk around the painting to allow the mark making to catch the light and unearth the image depicted.
* * *
Chloe Beddow (b. 1999, London, UK) lives and works in London. She completed her BA in Painting and Printmaking at The Glasgow School of Art (2022) before undertaking her MFA in Painting at The Slade School of Fine Art, London (2024). Recent and forthcoming group/duo exhibitions include: SPT Project Space, London (2025);Twilight Contemporary, London (2025); Chilli Arts Projects, London (2025); Fitzrovia Gallery, London (forthcoming, 2025); Algha Group Ltd, London (2024); Split Gallery, London (2024); Chilli Arts Projects, London (2024); Royal Scottish Academy, Edinburgh (2024); Greatorex Street, London (2024). Beddow has received several awards, including the Desiree Painting Prize for the Slade School of Fine Art Postgraduate Degree Show (2024), the Sarabande Fund for Emerging Artists (2024), and the James Nicol McBroom Memorial Prize for Fine Art (2022). She was also selected by the Royal Scottish Academy as a New Contemporary for 2024.