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Over every moon that ‘Corner/Fold’ is now open at @jamescohangallery

I am immensely grateful to the inimitable @sascha_ @dlouisnorr and the wonderful team at James Cohan NY for accompanying me through the maze, on view through Valentine’s Day 💌

The exhibition is accompanied by an original fiction ‘In the corner lies the trap’ by @sophmackintosh whose words really bring these worlds to life. Copies are available at the gallery and online

Work Details:
Gauze, 2025
Soft pastel on sanded paper in sapele panel frame
Soft pastel in sapele panel frame
88 5/8 x 88 5/8 x 1 1/8 in, 225 x 225 x 3 cm

Photography by Dan Bradica
Studio by @charreel

Over every moon that ‘Corner/Fold’ is now open at @jamescohangallery

I am immensely grateful to the inimitable @sascha_ @dlouisnorr and the wonderful team at James Cohan NY for accompanying me through the maze, on view through Valentine’s Day 💌

The exhibition is accompanied by an original fiction ‘In the corner lies the trap’ by @sophmackintosh whose words really bring these worlds to life. Copies are available at the gallery and online

Work Details:
Gauze, 2025
Soft pastel on sanded paper in sapele panel frame
Soft pastel in sapele panel frame
88 5/8 x 88 5/8 x 1 1/8 in, 225 x 225 x 3 cm

Photography by Dan Bradica
Studio by @charreel

Over every moon that ‘Corner/Fold’ is now open at @jamescohangallery

I am immensely grateful to the inimitable @sascha_ @dlouisnorr and the wonderful team at James Cohan NY for accompanying me through the maze, on view through Valentine’s Day 💌

The exhibition is accompanied by an original fiction ‘In the corner lies the trap’ by @sophmackintosh whose words really bring these worlds to life. Copies are available at the gallery and online

Work Details:
Gauze, 2025
Soft pastel on sanded paper in sapele panel frame
Soft pastel in sapele panel frame
88 5/8 x 88 5/8 x 1 1/8 in, 225 x 225 x 3 cm

Photography by Dan Bradica
Studio by @charreel

Over every moon that ‘Corner/Fold’ is now open at @jamescohangallery

I am immensely grateful to the inimitable @sascha_ @dlouisnorr and the wonderful team at James Cohan NY for accompanying me through the maze, on view through Valentine’s Day 💌

The exhibition is accompanied by an original fiction ‘In the corner lies the trap’ by @sophmackintosh whose words really bring these worlds to life. Copies are available at the gallery and online

Work Details:
Gauze, 2025
Soft pastel on sanded paper in sapele panel frame
Soft pastel in sapele panel frame
88 5/8 x 88 5/8 x 1 1/8 in, 225 x 225 x 3 cm

Photography by Dan Bradica
Studio by @charreel

Over every moon that ‘Corner/Fold’ is now open at @jamescohangallery

I am immensely grateful to the inimitable @sascha_ @dlouisnorr and the wonderful team at James Cohan NY for accompanying me through the maze, on view through Valentine’s Day 💌

The exhibition is accompanied by an original fiction ‘In the corner lies the trap’ by @sophmackintosh whose words really bring these worlds to life. Copies are available at the gallery and online

Work Details:
Gauze, 2025
Soft pastel on sanded paper in sapele panel frame
Soft pastel in sapele panel frame
88 5/8 x 88 5/8 x 1 1/8 in, 225 x 225 x 3 cm

Photography by Dan Bradica
Studio by @charreel

Arcade is now open at @massimodecarlopieceunique

Work Details:
Goosechase, 2026
163 x 163 x 3cm
Soft pastel on sanded paper, glass beads, aventurine, woven jacquard, wooden beads in sapele panel frame

Popularised in the 16th century, the Game of the Goose is considered the first modern board game. Players trace a spiral path of numbered squares, advancing and retreating at the mercy of dice. Ruled by chance and luck, the game has long served as an allegory for human fate. Goosechase is structured by the symbolic numerology of a traditional Game of the Goose board, with a nine panel grid and two panels of seven wooden slats, each representing the critical points of the seventh and ninth years when fortune might shift course. Multiplying the two, 63 individual wooden beads are embedded into the surround of the grid to create the ‘Grand Climacteric’. The woven jacquard tapestry is hand-beaded with aventurine amongst the glass beads (for luck!). 

The exhibition is accompanied by an original text, The Game of the Goose, by Phoebe Cripps. Phoebe Cripps is a writer, critic and curator. She is currently Associate Curator at the Warburg Institute London, and lives in East Sussex.

Special thanks to Dani and the team for everything and to Freddie as always

Massimo de Carlo Pièce Unique 
57 Rue de Turenne, 75003 Paris
April 28 - May 9 2026
🖤🤍

Arcade is now open at @massimodecarlopieceunique

Work Details:
Goosechase, 2026
163 x 163 x 3cm
Soft pastel on sanded paper, glass beads, aventurine, woven jacquard, wooden beads in sapele panel frame

Popularised in the 16th century, the Game of the Goose is considered the first modern board game. Players trace a spiral path of numbered squares, advancing and retreating at the mercy of dice. Ruled by chance and luck, the game has long served as an allegory for human fate. Goosechase is structured by the symbolic numerology of a traditional Game of the Goose board, with a nine panel grid and two panels of seven wooden slats, each representing the critical points of the seventh and ninth years when fortune might shift course. Multiplying the two, 63 individual wooden beads are embedded into the surround of the grid to create the ‘Grand Climacteric’. The woven jacquard tapestry is hand-beaded with aventurine amongst the glass beads (for luck!). 

The exhibition is accompanied by an original text, The Game of the Goose, by Phoebe Cripps. Phoebe Cripps is a writer, critic and curator. She is currently Associate Curator at the Warburg Institute London, and lives in East Sussex.

Special thanks to Dani and the team for everything and to Freddie as always

Massimo de Carlo Pièce Unique 
57 Rue de Turenne, 75003 Paris
April 28 - May 9 2026
🖤🤍

Arcade is now open at @massimodecarlopieceunique

Work Details:
Goosechase, 2026
163 x 163 x 3cm
Soft pastel on sanded paper, glass beads, aventurine, woven jacquard, wooden beads in sapele panel frame

Popularised in the 16th century, the Game of the Goose is considered the first modern board game. Players trace a spiral path of numbered squares, advancing and retreating at the mercy of dice. Ruled by chance and luck, the game has long served as an allegory for human fate. Goosechase is structured by the symbolic numerology of a traditional Game of the Goose board, with a nine panel grid and two panels of seven wooden slats, each representing the critical points of the seventh and ninth years when fortune might shift course. Multiplying the two, 63 individual wooden beads are embedded into the surround of the grid to create the ‘Grand Climacteric’. The woven jacquard tapestry is hand-beaded with aventurine amongst the glass beads (for luck!). 

The exhibition is accompanied by an original text, The Game of the Goose, by Phoebe Cripps. Phoebe Cripps is a writer, critic and curator. She is currently Associate Curator at the Warburg Institute London, and lives in East Sussex.

Special thanks to Dani and the team for everything and to Freddie as always

Massimo de Carlo Pièce Unique 
57 Rue de Turenne, 75003 Paris
April 28 - May 9 2026
🖤🤍

What is striking about Charlotte Edey’s (@edey_) work is its ability to navigate—in masterfully crafted, physically tactile structures of wood and textile—the tension between inner and outer worlds, staging an inquiry into the interaction between body, psyche and environment. ⁠
⁠
Already established in the U.K. and Europe, she recently made her East Coast debut at @jamescohangallery with a new body of multimedia works. ⁠
⁠
The show brings together intricate abstract patterns, the sensory pleasure of needlework and the intense physical labor, precision and endurance required by woodworking. ⁠
⁠
Read more by @elisartgal at the link in our bio

What is striking about Charlotte Edey’s (@edey_) work is its ability to navigate—in masterfully crafted, physically tactile structures of wood and textile—the tension between inner and outer worlds, staging an inquiry into the interaction between body, psyche and environment. ⁠
⁠
Already established in the U.K. and Europe, she recently made her East Coast debut at @jamescohangallery with a new body of multimedia works. ⁠
⁠
The show brings together intricate abstract patterns, the sensory pleasure of needlework and the intense physical labor, precision and endurance required by woodworking. ⁠
⁠
Read more by @elisartgal at the link in our bio

What is striking about Charlotte Edey’s (@edey_) work is its ability to navigate—in masterfully crafted, physically tactile structures of wood and textile—the tension between inner and outer worlds, staging an inquiry into the interaction between body, psyche and environment. ⁠
⁠
Already established in the U.K. and Europe, she recently made her East Coast debut at @jamescohangallery with a new body of multimedia works. ⁠
⁠
The show brings together intricate abstract patterns, the sensory pleasure of needlework and the intense physical labor, precision and endurance required by woodworking. ⁠
⁠
Read more by @elisartgal at the link in our bio

What is striking about Charlotte Edey’s (@edey_) work is its ability to navigate—in masterfully crafted, physically tactile structures of wood and textile—the tension between inner and outer worlds, staging an inquiry into the interaction between body, psyche and environment. ⁠
⁠
Already established in the U.K. and Europe, she recently made her East Coast debut at @jamescohangallery with a new body of multimedia works. ⁠
⁠
The show brings together intricate abstract patterns, the sensory pleasure of needlework and the intense physical labor, precision and endurance required by woodworking. ⁠
⁠
Read more by @elisartgal at the link in our bio

What is striking about Charlotte Edey’s (@edey_) work is its ability to navigate—in masterfully crafted, physically tactile structures of wood and textile—the tension between inner and outer worlds, staging an inquiry into the interaction between body, psyche and environment. ⁠
⁠
Already established in the U.K. and Europe, she recently made her East Coast debut at @jamescohangallery with a new body of multimedia works. ⁠
⁠
The show brings together intricate abstract patterns, the sensory pleasure of needlework and the intense physical labor, precision and endurance required by woodworking. ⁠
⁠
Read more by @elisartgal at the link in our bio

What is striking about Charlotte Edey’s (@edey_) work is its ability to navigate—in masterfully crafted, physically tactile structures of wood and textile—the tension between inner and outer worlds, staging an inquiry into the interaction between body, psyche and environment. ⁠
⁠
Already established in the U.K. and Europe, she recently made her East Coast debut at @jamescohangallery with a new body of multimedia works. ⁠
⁠
The show brings together intricate abstract patterns, the sensory pleasure of needlework and the intense physical labor, precision and endurance required by woodworking. ⁠
⁠
Read more by @elisartgal at the link in our bio

Arcade continues until Saturday 9 May at @massimodecarlopieceunique

Work Details:
Next Turn
23 x 53 x 4cm
Soft pastel on sanded paper, spindle hourglass, sapele panel frame

The exhibition is accompanied by an original text The Game of the Goose by Phoebe Cripps. Phoebe Cripps is a writer, critic and curator. She is currently Associate Curator at the Warburg Institute London, and lives in East Sussex.

Massimo de Carlo Pièce Unique 
@massimodecarlogallery
57 Rue de Turenne, 75003 Paris
April 28 - May 9 2026

Arcade continues until Saturday 9 May at @massimodecarlopieceunique

Work Details:
Next Turn
23 x 53 x 4cm
Soft pastel on sanded paper, spindle hourglass, sapele panel frame

The exhibition is accompanied by an original text The Game of the Goose by Phoebe Cripps. Phoebe Cripps is a writer, critic and curator. She is currently Associate Curator at the Warburg Institute London, and lives in East Sussex.

Massimo de Carlo Pièce Unique 
@massimodecarlogallery
57 Rue de Turenne, 75003 Paris
April 28 - May 9 2026

📣 James Cohan is delighted to announce the representation of Charlotte Edey, in collaboration with Ginny on Frederick, London and Sea View, Los Angeles.

Corner/Fold, Edey's first New York solo presentation, is on view at the gallery's 52 Walker Street location through this coming Saturday, February 14.

Charlotte Edey is a British artist (b.1992, Manchester) based in London. Edey’s multimedia works depict dreamlike worlds that explore architectures of the interior, both bodily and domestic. Edey combines pastel, embroidery, beadwork, stained glass, and woodworking to pull viewers through spatial and psychological scenes that are immersive and illusive. The artist creates transfixing hybrid surfaces that shimmer and shift with changing light, imbuing her compositions with a slippery, fragmentary quality. Magical realism is rearticulated as an aesthetic device to mine the uncanny similarities between ourselves and our built environment. Historically gendered mediums like embroidery and weaving become, in Edey’s hands, powerful vehicles for reconciling divisions between the metaphysical and material, the internal and external.

🔗 Read the full announcement and learn more about Charlotte Edey on our website via link in bio.

📸: Portrait of Charlotte Edey by Bekky Calver.

#CharlotteEdey #CornerFold #JamesCohan #SeaView #GinnyOnFrederick @edey_ @seaviewla@ginnyonfrederick

Final week to see Corner/Fold @jamescohangallery 💌 on view through Valentines Day

Little Fable (Noon), 2025
Stained glass, lead cane, LED in sapele
39 x 15 x 15 in, 99.1 x 38.1 x 38.1 cm

Final week to see Corner/Fold @jamescohangallery 💌 on view through Valentines Day

Little Fable (Noon), 2025
Stained glass, lead cane, LED in sapele
39 x 15 x 15 in, 99.1 x 38.1 x 38.1 cm

Final week to see Corner/Fold @jamescohangallery 💌 on view through Valentines Day

Little Fable (Noon), 2025
Stained glass, lead cane, LED in sapele
39 x 15 x 15 in, 99.1 x 38.1 x 38.1 cm

Final week to see Corner/Fold @jamescohangallery 💌 on view through Valentines Day

Little Fable (Noon), 2025
Stained glass, lead cane, LED in sapele
39 x 15 x 15 in, 99.1 x 38.1 x 38.1 cm

Below me, light. The hushed quiet of snow. Smooth floors, endless, spiralling step by step. Trailing my hands against curved lines of polished luminosity. Smooth bars of light. Silken quality of this light, beads of brightness hovering around my vision. But I lost my thread or concentration for a second, and I was falling, the floor lifting me back up as if it were a sheet pulled tight and flat, a warning or (perhaps) a tease.

I reminded myself to remain alert, even as I felt my vision glaze, the walls pressing in now and then, as if waiting for their chance. Reminded myself that illumination itself can warp, can push objects and ideas out of shape, make it so you can’t look directly at logic’s slipperiness. I felt a kinship with the structure, a longing to spill and cleave to the walls.

Excerpt from ‘In the corner stands the trap’, the magical @sophmackintosh text that accompanies Corner/Fold. Exhibition continues until February 14 @jamescohangallery

Silence Between Rotations, 2025
Glass beads, silk, woven jacquard, Victorian stick and ball spindle in sapele panel frame
18 7/8 x 23 x 1 1/8 in, 48 x 58.5 x 3 cm

Photography by Greg Carideo

Below me, light. The hushed quiet of snow. Smooth floors, endless, spiralling step by step. Trailing my hands against curved lines of polished luminosity. Smooth bars of light. Silken quality of this light, beads of brightness hovering around my vision. But I lost my thread or concentration for a second, and I was falling, the floor lifting me back up as if it were a sheet pulled tight and flat, a warning or (perhaps) a tease.

I reminded myself to remain alert, even as I felt my vision glaze, the walls pressing in now and then, as if waiting for their chance. Reminded myself that illumination itself can warp, can push objects and ideas out of shape, make it so you can’t look directly at logic’s slipperiness. I felt a kinship with the structure, a longing to spill and cleave to the walls.

Excerpt from ‘In the corner stands the trap’, the magical @sophmackintosh text that accompanies Corner/Fold. Exhibition continues until February 14 @jamescohangallery

Silence Between Rotations, 2025
Glass beads, silk, woven jacquard, Victorian stick and ball spindle in sapele panel frame
18 7/8 x 23 x 1 1/8 in, 48 x 58.5 x 3 cm

Photography by Greg Carideo

Below me, light. The hushed quiet of snow. Smooth floors, endless, spiralling step by step. Trailing my hands against curved lines of polished luminosity. Smooth bars of light. Silken quality of this light, beads of brightness hovering around my vision. But I lost my thread or concentration for a second, and I was falling, the floor lifting me back up as if it were a sheet pulled tight and flat, a warning or (perhaps) a tease.

I reminded myself to remain alert, even as I felt my vision glaze, the walls pressing in now and then, as if waiting for their chance. Reminded myself that illumination itself can warp, can push objects and ideas out of shape, make it so you can’t look directly at logic’s slipperiness. I felt a kinship with the structure, a longing to spill and cleave to the walls.

Excerpt from ‘In the corner stands the trap’, the magical @sophmackintosh text that accompanies Corner/Fold. Exhibition continues until February 14 @jamescohangallery

Silence Between Rotations, 2025
Glass beads, silk, woven jacquard, Victorian stick and ball spindle in sapele panel frame
18 7/8 x 23 x 1 1/8 in, 48 x 58.5 x 3 cm

Photography by Greg Carideo

Below me, light. The hushed quiet of snow. Smooth floors, endless, spiralling step by step. Trailing my hands against curved lines of polished luminosity. Smooth bars of light. Silken quality of this light, beads of brightness hovering around my vision. But I lost my thread or concentration for a second, and I was falling, the floor lifting me back up as if it were a sheet pulled tight and flat, a warning or (perhaps) a tease.

I reminded myself to remain alert, even as I felt my vision glaze, the walls pressing in now and then, as if waiting for their chance. Reminded myself that illumination itself can warp, can push objects and ideas out of shape, make it so you can’t look directly at logic’s slipperiness. I felt a kinship with the structure, a longing to spill and cleave to the walls.

Excerpt from ‘In the corner stands the trap’, the magical @sophmackintosh text that accompanies Corner/Fold. Exhibition continues until February 14 @jamescohangallery

Silence Between Rotations, 2025
Glass beads, silk, woven jacquard, Victorian stick and ball spindle in sapele panel frame
18 7/8 x 23 x 1 1/8 in, 48 x 58.5 x 3 cm

Photography by Greg Carideo

Below me, light. The hushed quiet of snow. Smooth floors, endless, spiralling step by step. Trailing my hands against curved lines of polished luminosity. Smooth bars of light. Silken quality of this light, beads of brightness hovering around my vision. But I lost my thread or concentration for a second, and I was falling, the floor lifting me back up as if it were a sheet pulled tight and flat, a warning or (perhaps) a tease.

I reminded myself to remain alert, even as I felt my vision glaze, the walls pressing in now and then, as if waiting for their chance. Reminded myself that illumination itself can warp, can push objects and ideas out of shape, make it so you can’t look directly at logic’s slipperiness. I felt a kinship with the structure, a longing to spill and cleave to the walls.

Excerpt from ‘In the corner stands the trap’, the magical @sophmackintosh text that accompanies Corner/Fold. Exhibition continues until February 14 @jamescohangallery

Silence Between Rotations, 2025
Glass beads, silk, woven jacquard, Victorian stick and ball spindle in sapele panel frame
18 7/8 x 23 x 1 1/8 in, 48 x 58.5 x 3 cm

Photography by Greg Carideo

Corner/Fold continues @jamescohangallery until February 14 ✉️

Three Floors, 2025
Glass beads, silk, organza, woven jacquard, soft pastel on sanded paper in sapele panel frame
18 7/8 x 50 3/8 x 1 1/8 in, 48 x 128 x 3 cm

Photography by Erin Brady

Corner/Fold continues @jamescohangallery until February 14 ✉️

Three Floors, 2025
Glass beads, silk, organza, woven jacquard, soft pastel on sanded paper in sapele panel frame
18 7/8 x 50 3/8 x 1 1/8 in, 48 x 128 x 3 cm

Photography by Erin Brady

Corner/Fold continues @jamescohangallery until February 14 ✉️

Three Floors, 2025
Glass beads, silk, organza, woven jacquard, soft pastel on sanded paper in sapele panel frame
18 7/8 x 50 3/8 x 1 1/8 in, 48 x 128 x 3 cm

Photography by Erin Brady

Corner/Fold continues @jamescohangallery until February 14 ✉️

Three Floors, 2025
Glass beads, silk, organza, woven jacquard, soft pastel on sanded paper in sapele panel frame
18 7/8 x 50 3/8 x 1 1/8 in, 48 x 128 x 3 cm

Photography by Erin Brady

Corner/Fold continues @jamescohangallery until February 14 ✉️

Three Floors, 2025
Glass beads, silk, organza, woven jacquard, soft pastel on sanded paper in sapele panel frame
18 7/8 x 50 3/8 x 1 1/8 in, 48 x 128 x 3 cm

Photography by Erin Brady

Corner/Fold continues @jamescohangallery until February 14 ✉️

Three Floors, 2025
Glass beads, silk, organza, woven jacquard, soft pastel on sanded paper in sapele panel frame
18 7/8 x 50 3/8 x 1 1/8 in, 48 x 128 x 3 cm

Photography by Erin Brady

Little Fable (Dusk)

Work Details:
Little Fable (Dusk), 2025
Stained glass, lead cane, LED in sapele
39 x 15 x 15 in, 99.1 x 38.1 x 38.1 cm

Corner/Fold continues until Valentines Day 💌

‘Corner/Fold features three floor-based stained glass sculptures reminiscent of wishing wells. The body of work is inspired by “A Little Fable”, Franz Kafka’s 1920s absurdist tale of a cat and mouse in an increasingly shrinking space, the bodily experience of bending and compressing oneself to descend into a visual field plays with Edey’s interest in our ever-changing sense of location, orientation, and disorientation. Inside these wells, Edey has translated her visual language of knots, loops, and orbs into mesmeric stained glass, illuminated from below.’

The exhibition is accompanied by an original fiction ‘In the corner lies the trap’ by @sophmackintosh with copies available at the gallery and online

Photography by @g_rids

Little Fable (Dusk)

Work Details:
Little Fable (Dusk), 2025
Stained glass, lead cane, LED in sapele
39 x 15 x 15 in, 99.1 x 38.1 x 38.1 cm

Corner/Fold continues until Valentines Day 💌

‘Corner/Fold features three floor-based stained glass sculptures reminiscent of wishing wells. The body of work is inspired by “A Little Fable”, Franz Kafka’s 1920s absurdist tale of a cat and mouse in an increasingly shrinking space, the bodily experience of bending and compressing oneself to descend into a visual field plays with Edey’s interest in our ever-changing sense of location, orientation, and disorientation. Inside these wells, Edey has translated her visual language of knots, loops, and orbs into mesmeric stained glass, illuminated from below.’

The exhibition is accompanied by an original fiction ‘In the corner lies the trap’ by @sophmackintosh with copies available at the gallery and online

Photography by @g_rids

Little Fable (Dusk)

Work Details:
Little Fable (Dusk), 2025
Stained glass, lead cane, LED in sapele
39 x 15 x 15 in, 99.1 x 38.1 x 38.1 cm

Corner/Fold continues until Valentines Day 💌

‘Corner/Fold features three floor-based stained glass sculptures reminiscent of wishing wells. The body of work is inspired by “A Little Fable”, Franz Kafka’s 1920s absurdist tale of a cat and mouse in an increasingly shrinking space, the bodily experience of bending and compressing oneself to descend into a visual field plays with Edey’s interest in our ever-changing sense of location, orientation, and disorientation. Inside these wells, Edey has translated her visual language of knots, loops, and orbs into mesmeric stained glass, illuminated from below.’

The exhibition is accompanied by an original fiction ‘In the corner lies the trap’ by @sophmackintosh with copies available at the gallery and online

Photography by @g_rids

Little Fable (Dusk)

Work Details:
Little Fable (Dusk), 2025
Stained glass, lead cane, LED in sapele
39 x 15 x 15 in, 99.1 x 38.1 x 38.1 cm

Corner/Fold continues until Valentines Day 💌

‘Corner/Fold features three floor-based stained glass sculptures reminiscent of wishing wells. The body of work is inspired by “A Little Fable”, Franz Kafka’s 1920s absurdist tale of a cat and mouse in an increasingly shrinking space, the bodily experience of bending and compressing oneself to descend into a visual field plays with Edey’s interest in our ever-changing sense of location, orientation, and disorientation. Inside these wells, Edey has translated her visual language of knots, loops, and orbs into mesmeric stained glass, illuminated from below.’

The exhibition is accompanied by an original fiction ‘In the corner lies the trap’ by @sophmackintosh with copies available at the gallery and online

Photography by @g_rids

Charlotte Edey’s multimedia works depict dreamlike worlds that explore architectures of the interior, both bodily and domestic. Edey combines pastel, embroidery, beadwork, stained glass, and woodworking to pull viewers through spatial and psychological scenes that are immersive and illusive. Magical realism is rearticulated as an aesthetic device to mine the uncanny similarities between ourselves and our built environment. Historically gendered mediums like embroidery and weaving become, in Edey’s hands, powerful vehicles for reconciling divisions between the metaphysical and material, the internal and external.

Corner/Fold, Charlotte Edey's first solo exhibition with James Cohan, is on view through February 14 at 52 Walker Street. The exhibition is accompanied by In the corner stands the trap, an original, commissioned work by British novelist Sophie Mackintosh.

🔗 Learn more about Charlotte Edey and plan your visit via link in bio.

📸: Installation view, Charlotte Edey, Corner/Fold, James Cohan, 52 Walker Street, November 9 - February 14, 2026. Photo by Dan Bradica Studio.

#CharlotteEdey #CornerFold #SophieMackintosh #JamesCohan #TextileArt @edey @sophmackintosh @seaviewla @ginnyonfrederick

Charlotte Edey’s multimedia works depict dreamlike worlds that explore architectures of the interior, both bodily and domestic. Edey combines pastel, embroidery, beadwork, stained glass, and woodworking to pull viewers through spatial and psychological scenes that are immersive and illusive. Magical realism is rearticulated as an aesthetic device to mine the uncanny similarities between ourselves and our built environment. Historically gendered mediums like embroidery and weaving become, in Edey’s hands, powerful vehicles for reconciling divisions between the metaphysical and material, the internal and external.

Corner/Fold, Charlotte Edey's first solo exhibition with James Cohan, is on view through February 14 at 52 Walker Street. The exhibition is accompanied by In the corner stands the trap, an original, commissioned work by British novelist Sophie Mackintosh.

🔗 Learn more about Charlotte Edey and plan your visit via link in bio.

📸: Installation view, Charlotte Edey, Corner/Fold, James Cohan, 52 Walker Street, November 9 - February 14, 2026. Photo by Dan Bradica Studio.

#CharlotteEdey #CornerFold #SophieMackintosh #JamesCohan #TextileArt @edey @sophmackintosh @seaviewla @ginnyonfrederick

Charlotte Edey’s multimedia works depict dreamlike worlds that explore architectures of the interior, both bodily and domestic. Edey combines pastel, embroidery, beadwork, stained glass, and woodworking to pull viewers through spatial and psychological scenes that are immersive and illusive. Magical realism is rearticulated as an aesthetic device to mine the uncanny similarities between ourselves and our built environment. Historically gendered mediums like embroidery and weaving become, in Edey’s hands, powerful vehicles for reconciling divisions between the metaphysical and material, the internal and external.

Corner/Fold, Charlotte Edey's first solo exhibition with James Cohan, is on view through February 14 at 52 Walker Street. The exhibition is accompanied by In the corner stands the trap, an original, commissioned work by British novelist Sophie Mackintosh.

🔗 Learn more about Charlotte Edey and plan your visit via link in bio.

📸: Installation view, Charlotte Edey, Corner/Fold, James Cohan, 52 Walker Street, November 9 - February 14, 2026. Photo by Dan Bradica Studio.

#CharlotteEdey #CornerFold #SophieMackintosh #JamesCohan #TextileArt @edey @sophmackintosh @seaviewla @ginnyonfrederick

Charlotte Edey’s multimedia works depict dreamlike worlds that explore architectures of the interior, both bodily and domestic. Edey combines pastel, embroidery, beadwork, stained glass, and woodworking to pull viewers through spatial and psychological scenes that are immersive and illusive. Magical realism is rearticulated as an aesthetic device to mine the uncanny similarities between ourselves and our built environment. Historically gendered mediums like embroidery and weaving become, in Edey’s hands, powerful vehicles for reconciling divisions between the metaphysical and material, the internal and external.

Corner/Fold, Charlotte Edey's first solo exhibition with James Cohan, is on view through February 14 at 52 Walker Street. The exhibition is accompanied by In the corner stands the trap, an original, commissioned work by British novelist Sophie Mackintosh.

🔗 Learn more about Charlotte Edey and plan your visit via link in bio.

📸: Installation view, Charlotte Edey, Corner/Fold, James Cohan, 52 Walker Street, November 9 - February 14, 2026. Photo by Dan Bradica Studio.

#CharlotteEdey #CornerFold #SophieMackintosh #JamesCohan #TextileArt @edey @sophmackintosh @seaviewla @ginnyonfrederick

Charlotte Edey’s multimedia works depict dreamlike worlds that explore architectures of the interior, both bodily and domestic. Edey combines pastel, embroidery, beadwork, stained glass, and woodworking to pull viewers through spatial and psychological scenes that are immersive and illusive. Magical realism is rearticulated as an aesthetic device to mine the uncanny similarities between ourselves and our built environment. Historically gendered mediums like embroidery and weaving become, in Edey’s hands, powerful vehicles for reconciling divisions between the metaphysical and material, the internal and external.

Corner/Fold, Charlotte Edey's first solo exhibition with James Cohan, is on view through February 14 at 52 Walker Street. The exhibition is accompanied by In the corner stands the trap, an original, commissioned work by British novelist Sophie Mackintosh.

🔗 Learn more about Charlotte Edey and plan your visit via link in bio.

📸: Installation view, Charlotte Edey, Corner/Fold, James Cohan, 52 Walker Street, November 9 - February 14, 2026. Photo by Dan Bradica Studio.

#CharlotteEdey #CornerFold #SophieMackintosh #JamesCohan #TextileArt @edey @sophmackintosh @seaviewla @ginnyonfrederick

✨NOW OPEN✨ Corner/Fold, an exhibition of new work by Charlotte Edey, is on view at James Cohan's 52 Walker Street location through February 14th. This is Edey's first exhibition with the gallery and marks her New York solo debut.

📚Corner/Fold is accompanied by In the corner stands the trap, an original, commissioned text by Booker Prize-nominated British novelist Sophie Mackintosh, accessible via link in bio.

The works in Corner/Fold use the framework of the labyrinth as the point of departure, diving into several material and conceptual tensions: surface versus depth, proximity versus separation, tightness and looseness, lost and found. The labyrinth forms both a narrative and spatial structure, shaped as much by memory, selfhood, movement and desire as by path, wall, and staircase. Repeated motifs of circles, spirals, spools of thread and spherical apertures emphasize the symbolism of the center as a site of return rather than resolution.

⛓ Learn more about Charlotte Edey and discover our current and upcoming exhibitions via link in bio.

📸: CHARLOTTE EDEY, Compression Chamber, 2025, freshwater pearls, glass beads, topaz, opal, quartz, silk, woven jacquard, soft pastel on paper in sapele panel frame, 29 1/8 x 22 1/2 x 1 1/8 in, 74 x 57 x 3 cm. Photo by Greg Carideo.

#CharlotteEdey #SophieMackintosh #JamesCohan #ContemporaryArt #Embroidery @edey_ @sophmackintosh

✨NOW OPEN✨ Corner/Fold, an exhibition of new work by Charlotte Edey, is on view at James Cohan's 52 Walker Street location through February 14th. This is Edey's first exhibition with the gallery and marks her New York solo debut.

📚Corner/Fold is accompanied by In the corner stands the trap, an original, commissioned text by Booker Prize-nominated British novelist Sophie Mackintosh, accessible via link in bio.

The works in Corner/Fold use the framework of the labyrinth as the point of departure, diving into several material and conceptual tensions: surface versus depth, proximity versus separation, tightness and looseness, lost and found. The labyrinth forms both a narrative and spatial structure, shaped as much by memory, selfhood, movement and desire as by path, wall, and staircase. Repeated motifs of circles, spirals, spools of thread and spherical apertures emphasize the symbolism of the center as a site of return rather than resolution.

⛓ Learn more about Charlotte Edey and discover our current and upcoming exhibitions via link in bio.

📸: CHARLOTTE EDEY, Compression Chamber, 2025, freshwater pearls, glass beads, topaz, opal, quartz, silk, woven jacquard, soft pastel on paper in sapele panel frame, 29 1/8 x 22 1/2 x 1 1/8 in, 74 x 57 x 3 cm. Photo by Greg Carideo.

#CharlotteEdey #SophieMackintosh #JamesCohan #ContemporaryArt #Embroidery @edey_ @sophmackintosh

✨NOW OPEN✨ Corner/Fold, an exhibition of new work by Charlotte Edey, is on view at James Cohan's 52 Walker Street location through February 14th. This is Edey's first exhibition with the gallery and marks her New York solo debut.

📚Corner/Fold is accompanied by In the corner stands the trap, an original, commissioned text by Booker Prize-nominated British novelist Sophie Mackintosh, accessible via link in bio.

The works in Corner/Fold use the framework of the labyrinth as the point of departure, diving into several material and conceptual tensions: surface versus depth, proximity versus separation, tightness and looseness, lost and found. The labyrinth forms both a narrative and spatial structure, shaped as much by memory, selfhood, movement and desire as by path, wall, and staircase. Repeated motifs of circles, spirals, spools of thread and spherical apertures emphasize the symbolism of the center as a site of return rather than resolution.

⛓ Learn more about Charlotte Edey and discover our current and upcoming exhibitions via link in bio.

📸: CHARLOTTE EDEY, Compression Chamber, 2025, freshwater pearls, glass beads, topaz, opal, quartz, silk, woven jacquard, soft pastel on paper in sapele panel frame, 29 1/8 x 22 1/2 x 1 1/8 in, 74 x 57 x 3 cm. Photo by Greg Carideo.

#CharlotteEdey #SophieMackintosh #JamesCohan #ContemporaryArt #Embroidery @edey_ @sophmackintosh

Join us this Friday, January 9th at 52 Walker Street to celebrate the opening of Corner/Fold, an exhibition of new works by Charlotte Edey. This presentation, which runs through February 14, marks the artist’s debut with James Cohan and first New York solo exhibition.

Charlotte Edey’s multimedia works depict dreamlike worlds that explore architectures of the interior, both bodily and domestic. Edey combines pastel, embroidery, beadwork, stained glass, and woodworking to pull viewers through spatial and psychological scenes that are immersive and illusive.

The works in Corner/Fold use the framework of the labyrinth as the point of departure, diving into several material and conceptual tensions: surface versus depth, proximity versus separation, tightness and looseness, lost and found. The labyrinth forms both a narrative and spatial structure, shaped as much by memory, selfhood, movement and desire as by path, wall, and staircase. Repeated motifs of circles, spirals, spools of thread and spherical apertures emphasize the symbolism of the center as a site of return rather than resolution.

🔗 Learn more about Charlotte Edey and preview our other January exhibitions via link in bio.

📸: CHARLOTTE EDEY, Fold above fold, a surging mase!, 2025, soft pastel, glass beads, freshwater pearl, woven jacquard in sapele panel frame, 88 5/8 x 88 5/8 x 1 1/8 in, 225 x 225 x 3 cm. Photo by GC Photography.

#CharlotteEdey #CornerFold #Pastel #Beadwork #JamesCohan @seaviewla @ginnyonfrederick @edey_

Join us this Friday, January 9th at 52 Walker Street to celebrate the opening of Corner/Fold, an exhibition of new works by Charlotte Edey. This presentation, which runs through February 14, marks the artist’s debut with James Cohan and first New York solo exhibition.

Charlotte Edey’s multimedia works depict dreamlike worlds that explore architectures of the interior, both bodily and domestic. Edey combines pastel, embroidery, beadwork, stained glass, and woodworking to pull viewers through spatial and psychological scenes that are immersive and illusive.

The works in Corner/Fold use the framework of the labyrinth as the point of departure, diving into several material and conceptual tensions: surface versus depth, proximity versus separation, tightness and looseness, lost and found. The labyrinth forms both a narrative and spatial structure, shaped as much by memory, selfhood, movement and desire as by path, wall, and staircase. Repeated motifs of circles, spirals, spools of thread and spherical apertures emphasize the symbolism of the center as a site of return rather than resolution.

🔗 Learn more about Charlotte Edey and preview our other January exhibitions via link in bio.

📸: CHARLOTTE EDEY, Fold above fold, a surging mase!, 2025, soft pastel, glass beads, freshwater pearl, woven jacquard in sapele panel frame, 88 5/8 x 88 5/8 x 1 1/8 in, 225 x 225 x 3 cm. Photo by GC Photography.

#CharlotteEdey #CornerFold #Pastel #Beadwork #JamesCohan @seaviewla @ginnyonfrederick @edey_

Join us this Friday, January 9th at 52 Walker Street to celebrate the opening of Corner/Fold, an exhibition of new works by Charlotte Edey. This presentation, which runs through February 14, marks the artist’s debut with James Cohan and first New York solo exhibition.

Charlotte Edey’s multimedia works depict dreamlike worlds that explore architectures of the interior, both bodily and domestic. Edey combines pastel, embroidery, beadwork, stained glass, and woodworking to pull viewers through spatial and psychological scenes that are immersive and illusive.

The works in Corner/Fold use the framework of the labyrinth as the point of departure, diving into several material and conceptual tensions: surface versus depth, proximity versus separation, tightness and looseness, lost and found. The labyrinth forms both a narrative and spatial structure, shaped as much by memory, selfhood, movement and desire as by path, wall, and staircase. Repeated motifs of circles, spirals, spools of thread and spherical apertures emphasize the symbolism of the center as a site of return rather than resolution.

🔗 Learn more about Charlotte Edey and preview our other January exhibitions via link in bio.

📸: CHARLOTTE EDEY, Fold above fold, a surging mase!, 2025, soft pastel, glass beads, freshwater pearl, woven jacquard in sapele panel frame, 88 5/8 x 88 5/8 x 1 1/8 in, 225 x 225 x 3 cm. Photo by GC Photography.

#CharlotteEdey #CornerFold #Pastel #Beadwork #JamesCohan @seaviewla @ginnyonfrederick @edey_

Join us this Friday, January 9th at 52 Walker Street to celebrate the opening of Corner/Fold, an exhibition of new works by Charlotte Edey. This presentation, which runs through February 14, marks the artist’s debut with James Cohan and first New York solo exhibition.

Charlotte Edey’s multimedia works depict dreamlike worlds that explore architectures of the interior, both bodily and domestic. Edey combines pastel, embroidery, beadwork, stained glass, and woodworking to pull viewers through spatial and psychological scenes that are immersive and illusive.

The works in Corner/Fold use the framework of the labyrinth as the point of departure, diving into several material and conceptual tensions: surface versus depth, proximity versus separation, tightness and looseness, lost and found. The labyrinth forms both a narrative and spatial structure, shaped as much by memory, selfhood, movement and desire as by path, wall, and staircase. Repeated motifs of circles, spirals, spools of thread and spherical apertures emphasize the symbolism of the center as a site of return rather than resolution.

🔗 Learn more about Charlotte Edey and preview our other January exhibitions via link in bio.

📸: CHARLOTTE EDEY, Fold above fold, a surging mase!, 2025, soft pastel, glass beads, freshwater pearl, woven jacquard in sapele panel frame, 88 5/8 x 88 5/8 x 1 1/8 in, 225 x 225 x 3 cm. Photo by GC Photography.

#CharlotteEdey #CornerFold #Pastel #Beadwork #JamesCohan @seaviewla @ginnyonfrederick @edey_

Join us this Friday, January 9th at 52 Walker Street to celebrate the opening of Corner/Fold, an exhibition of new works by Charlotte Edey. This presentation, which runs through February 14, marks the artist’s debut with James Cohan and first New York solo exhibition.

Charlotte Edey’s multimedia works depict dreamlike worlds that explore architectures of the interior, both bodily and domestic. Edey combines pastel, embroidery, beadwork, stained glass, and woodworking to pull viewers through spatial and psychological scenes that are immersive and illusive.

The works in Corner/Fold use the framework of the labyrinth as the point of departure, diving into several material and conceptual tensions: surface versus depth, proximity versus separation, tightness and looseness, lost and found. The labyrinth forms both a narrative and spatial structure, shaped as much by memory, selfhood, movement and desire as by path, wall, and staircase. Repeated motifs of circles, spirals, spools of thread and spherical apertures emphasize the symbolism of the center as a site of return rather than resolution.

🔗 Learn more about Charlotte Edey and preview our other January exhibitions via link in bio.

📸: CHARLOTTE EDEY, Fold above fold, a surging mase!, 2025, soft pastel, glass beads, freshwater pearl, woven jacquard in sapele panel frame, 88 5/8 x 88 5/8 x 1 1/8 in, 225 x 225 x 3 cm. Photo by GC Photography.

#CharlotteEdey #CornerFold #Pastel #Beadwork #JamesCohan @seaviewla @ginnyonfrederick @edey_