liverpool biennial independents 2004

 
         
Independent Districtindependent dist Georgian Quartergeorgian quarter City Centralcity central Docklandsdocklands Artistsartists








Archived 2008, another new folder

  Feeding the 5000  
 

Feed the 5000
Biennial opening night
Independent District

 
   

  Detail from Scott Jones's album cover for Deltasonic's The Zutons  
 

Scott Jones
3345
Liverpool Biennial 2004

 
   

  Gillian Davis, Babycream  
 

Gillian Davis
Babycream
Liverpool Biennial 2004

 
   

  Dave White, Liverpool Biennial 2004  
 

Dave White
Independent District
Liverpool Biennial 2004

 
   

 
 
 
  Detail from 'Guten Tag #1' by Maurice Cockrill

Maurice Cockrill RA

Ten

Docklands

12 Prince's Dock

 

'The origination for much of my recent work is rooted partially in a kind of fascination for the nature of water, which began formally, most probably in the 'water' drawings and paintings for my 'Elements' series of 1998.

An ongoing sub-theme is a visual consideration, making use of colour relationships, of the tension between nature and technology, hinted at in my extensive series, 'Divided', of 1999-2000. These related subjects seem to combine in the 'Bridge' paintings, mostly dating from 2002, although having evolved earlier. Two different qualities of paint are brought together, restrained in the tectonic 'bridge' and volatile in its environment. Fluid, drenching arrangements are opposed to what gradually developed into a severe geometric structure, a simple, spanning form that joins and divides, a symbol both of 'man's triumph over nature' and of unification.

In these and subsequent paintings I have used a layering technique which permits a view of earlier spatial complexes in the compositions and that alludes to the notion that there may be many additional dimensions beyond or parallel to the supposed three or four, that are unseen or incensed by human beings.

Calligraphy, especially oriental painting and writing, is an art that has interested me since my youth and gesture has informed my painting almost throughout my life, but positively since the late 1960s. Thus, much of the handling and imagery in my work up to the present has a generally cursive rhythm.

Guten Tag #1. Over the organic convolutions - that may equate with forms in nature or the physiology of the human body - the painting Guten Tag. ('tag', ['tagging'] being graffiti as well as 'day'), has a diagonal swathe of black 'writing', like a further erasure or imposition that hopefully bears, in a different context, the kind of urgency and visual presence, not always defacement, that I have experienced everywhere in the streets of South London or Liverpool or Hong Kong - a seamless onward flow like life, one thing superseding another.'

Maurice Cockrill was born in Hartlepool, County Durham in 1936, he studied painting at evening classes, and in 1960 was accepted by Wrexham Art School to study painting full-time.

Maurice spent the next twenty years living and teaching in Liverpool, where he became well known as a realist and was funded by the Arts Council. In 1982 he moved to London, showing solo many times with Bernard Jacobson Gallery. He was the subject of a retrospective exhibition at the Walker Art Gallery in Liverpool in 1995.

Maurice Cockrill was on the Hanging Committee for the Royal Academy's 2001 Summer Exhibition.

 

Artists represented at 12 Prince's Dock

Craig Atkinson
Maurice Cockrill
Terry Duffy
John Hoyland
Glenn Humphrey
Julie Jones
John McLean
Arthur Roberts
Jason Thompson
Christine O'Reilly Wilson

 

 







Archived February 2008, another new folder