Our studio is filled with light and music.
There are multiple meeting rooms, a well stocked kitchen, and an indoor garden (with fishpond). Talk to us about access needs, environmental factors and any accommodations we might make to enhance your visit. Pop-in for tea and stay to use a spare desk for as long as you need.

11 Greenwich Centre Business Park,
53 Norman Road, Greenwich
London SE10 9QF

Cog is a Certified B Corporation

Public transport

We’re next to Greenwich train and DLR station. We have a door right on the concourse but it’s different to our postal address.

From Greenwich rail platform

This video shows the route to take from the train that will arrive at Greenwich rail station from London Bridge. There's a gentle slope next to the staircase.

From Greenwich DLR station

This video shows the route to take from the DLR that will arrive at Greenwich DLR station from Bank. There's a lift at the platform level if that's useful.

By car

If you have to come by car, we have a couple of parking spaces. We have a charging point that you are welcome to use if you have an electric car. Call ahead and we'll make sure the spaces are free. Use our postcode (SE10 9QF) to guide you in.

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11 Greenwich Centre Business Park,
53 Norman Road, Greenwich
London SE10 9QF

Cog is a Certified B Corporation

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Cultural Calendar

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Vivian Suter: Tintin’s Sofa at Camden Arts Centre

Vivian Suter: Tintin’s Sofa at Camden Arts Centre

On a stormy Sunday afternoon Ed took refuge in this paint-sodden exhibition at Camden Arts Centre.

Vivian Suter’s show ‘Tintin’s Sofa’ at Camden Arts Centre is the perfect exhibition for a rainy day. I mean that literally: Suter works outdoors at her Guatemalan studio, and sees the unpredictable marks left by the weather and the natural world as an integral part of her creative process. There is a damp, elemental quality to her vibrant canvases that dovetails nicely with dreary English weather.

So when I visited Camden Arts Centre on a rainy weekend during Storm Dennis, I enjoyed the irony that part of the exhibition, in the gallery’s garden, was closed due to the weather.

I was sad to miss the outdoor installation because the work on display inside was excellent. Suter and her curators have done away with frames and captions to create an immersive installation of draped canvas. Some works hang in racks, as if they are drying, whilst others cascade from the ceiling, or lie crumpled on the floor. According to Suter the exhibition was put together intuitively and everywhere at once. “We start somewhere” she observes in an interview “and continue adding things to it”. As a result its curation captures the same quality that makes Suter’s work pop, a feeling of accidental chance, steered by an astute creative eye.

It’s hard to single particular pieces out, and to do so would be missing the point a bit. The works are put together in such a way that it’s impossible to say where one piece starts and another stops. They become a delicate visual ecosystem and demand to be taken in altogether all at the same time. Removing an individual canvas, framing it, and hanging it on the wall of an illustrious collector’s Chelsea mansion would be like cutting down a tree in the Guatemalan jungle and turning it into a chest of drawers.

‘Tintin’s Sofa’ is about colliding contexts: the context of the jungle, marked by muddy accidentals; the intertextual relationships between the works themselves; and the context in which the exhibition is explored. Visiting the colourful, muddy world of ‘Tintin’s Sofa’ is an excellent kind of escapism, and well worth braving stormy spring weather to see.