The current exhibition of paintings on show at the Corke Gallery features work by three Fine Art Students who graduated in 2018 from Hope University in Liverpool. This is the second year that the Corke Gallery has put on an exhibition by artists who we regarded as being the best painting artists we could select from their graduation show in 2018.
Stephanie Carr, Eleanor McCusker and Louise Emily Stewart's work includes paintings which focus on repetition and juxtaposition, abstract expressionism featuring fluid use paint and vibrant colours. Each artist we felt had their own distinct style and show confidence in their combination of colours and use of painting techniques.
Since they were awarded the Exhibirion Prize at the Corke Gallery in May 2018 all three have continued to develop their practice after graduating and plan to make a career painting. The Corke Gallery is delighted to support them at the start of what we hope will be three great careers in art.
My work is currently concerned with repetition and the juxtaposition of order and disorder associated with alcoholism. During my adolescence, I lived with a parent who was suffering from depression, as well as addiction. I witnessed the negative effects that alcoholism can have on an individual's relationships, as well as their mental and physical health.
Semiotics are very important in my work. I often use glasses, alcohol and other evocative materials, which may elicit a response or memory in the mind of the viewer. Repetition is a key aspect in my work because it makes the work cathartic to produce, whilst also mirroring the compulsive, addictive behaviors of an alcoholic.
I do not expect people viewing my work to immediately know that my paintings are about alcoholism or addiction. I simply aim to create an atmosphere or emotion, which mirrors that of someone suffering from the effects of alcoholism, or the experience of a person in close proximity to an addict.
Looking beyond the surface a deeper understanding can be found.
If you look at something once from a far, are you actually acknowledging the layers and characteristics it possesses or are you just choosing to notice the surface that every individual can see.
When we look further into an object or an image we let our creative individuality take control. we interpret colours, shapes and textures differently. Looking beyond the surface we notice qualities we initially would have been ignorant to.
Take a good look, be creative and don’t be blind to what the eyes can really see.
Louise Emily Stewart
My current work has developed since attending the Fine Art Degree course at Liverpool Hope University. The paintings range in scale from very large to smaller, more intimate formats. I work in the realm of abstraction and colour.
More recent works have explored print where I have been creating similar loose gestural marks using other processes and mediums. During my current residency at Liverpool Hope I have used monochrome drawings as inspiration for lino prints, which have subsequently been transcribed into larger, more 'kaleidoscopic' and gestural drawings and screen prints.
Sensations within the body are the key focus for the current work. I am preoccupied with colour and ts effect on the viewer when standing in front of the work.
I attempt to channel this phenomenon by employing marks made whilst focusing on emotions and meditative states. The large abstract paintings are the result of an almost performative act of painting with large wounds of poured paint offered up against an often-joyful mix of spontaneous gestural tropes and angst-tinged interventions. The paintings are layered up over a long period of working with each successive layer evidencing the action of the artist and the painting event.
JaundiceStephanie Carr (2019)Board canvas, yellow fabrics, pen, black printing ink and gloss varnish122cm x 122cm£775
Nursery CoveEleanor McCusker (2019)Mixed media60cm x 60cm£295
The Sunshine Is RealLouise Emily StewartAcrylic paint & oil paint174cm x 150cm£750
Black & White (2)Stephanie Carr (2018)Board canvases, black tablecloth, white tablecloth, pen, black printing ink, white printing ink, gloss varnish. 80cm x 80cm £425
The Orange GroveEleanor McCusker (2019)Mixed media60cm x 60cm£295
90 Seconds of NostalgiaLouise Emily StewartAcrylic paint, oil paint, varnish, matt gel, ink & PVA glue Louise Emily Stewart, 2019101cm x 101cm£450
Black & White (1)Stephanie Carr (2018)Board canvases, black tablecloth, white tablecloth, pen, black printing ink, white printing ink, gloss varnish. 80cm x 80cm £425
Requiem WorldEleanor McCusker (2019)Mixed media60cm x 60cm£295
Fake LoveLouise Emily Stewart, 2018 - 9Acrylic paint, oil paint, varnish, matt gel, PVA glue90.5cm x 141cm£450
Hospital RobeStephanie Carr (2018)Wooden canvas frame, hospital robe, pen,black printing ink and gloss varnish61cm x 61cm£395
Bertie’s BoulevardEleanor McCusker (2019)Mixed media60cm x 60cm£295
New HorizonsLouise Emily Stewart (2018)Acrylic paint & oil paint58cm x 59cm£180
Wine and Black InkStephanie Carr (2018)Tablecloth, red wine, pencil, black printing ink & gloss varnish152cm x 152cm£700
Light of LunaEleanor McCusker (2019)Mixed media60cm x 60cm£295
Just RedLouise Emily Stewart (2019)Acrylic paint, varnish & matt gel 100cm x 100cm£310
UntitledStephanie Carr (2018)Mixed media10cm x 10cm£50
Eternal AbyssEleanor McCusker (2019)Mixed media60cm x 60cm£295
Say GoodbyeLouise Emily Stewart (2018)Acrylic paint & oil paint100cm x 100cm£300
UntitledStephanie Carr (2019)Board canvas, canvas fabric, pencil, red wine, fortified wine, hairspray and gloss varnish 61cm x 83cm£550
Slowed UpStephanie Carr (2019)Acrylic paint & oil paint 90cm x 91cm£350
Too Much ColourStephanie Carr (2019)Acrylic paint, varnish & matt gel 100cm x 100cm£310
Peter Moore March - April 2019
"This exhibition is a personal record of places visited, a record shared with only a few until now.
I love drawing from the environment and compare myself to a musician playing from the score.
I play the landscape music onto my paper and trust the viewer hears the tune."
Peter Moore March 2019
As an art educator with many years' experience, Peter Moore has always maintained his personal interest in his craft. Peter considers drawing to be the life-blood of any artist and as such has kept to this discipline throughout his professional life. Rather than "technical" drawing exercises done in isolation he has set about recording places visited which combined technique with expression within a visual diary. Occasionally he emphasises the expressive elements through free drawing and abstraction.
For ease of travel, Peter's main medium has been ink and wash. A normal fountain pen filled with ink is accompanied by a water-brush (whose handle holds water) to produce wash-like qualities. The ink in his pen often breaks into constituent shades when water is applied. It is deemed "black" but separates into various colours from which the "black" ink is made. The ink manufacturing process, the amount of wash applied and the watercolour paper used affect the results in subtle and surprising ways. Other times he uses resist processes combined with waterproof Indian Ink or fine-line pens.
Peter Moore was brought up in the Wirral and attended St. Anselm's College in Birkenhead. He was then accepted into the Laird School of Art, Birkenhead, followed by the Liverpool College of Art. His post-graduate certificate in education was done at Manchester College of Art. He had six years training in all.
His first teaching post was in a Warrington Secondary School followed by a Lectureship at Warrington College of Art. In 1968 he was offered a Senior Lectureship at Christ's College, now the Liverpool Hope University. Peter was on their payroll for fifty years. His last twenty years were the part-time post with "Teaching the Eye to See" art group which flourishes to this day.
Examining posts at various Universities were undertaken as well national courses for the UK Government. Teaching intervals followed in Nigeria and the State University of New York, USA. Peter was also President of the National Society for Education in Art and Design and holds two fellowships of the Society.
VIEWINGS BY APPOINTMENT - CALL 07773 287827
JASON JONES December 2018 - january 2019
Internationally exhibited Liverpool based artist Jason Jones, former Gallery Manager of Liverpool Hope University's Cornerstone Gallery, has returned to his practice after an eight year break.
After graduating in 1998 Jason undertook a seven year period of romantic, gestural, atmospheric and introspective analysis of paint as a medium, producing a vigorous and rapid succession of themed portfolios of work, all underpinned by sub-contexts of the chaotic, harmony and contrast.
In 2004 Jason started using the knowledge and techniques he had developed for applying paint to the contemporary male figure. This culminated in him being included in the 2010 international publication "100 Artists of the Male Figure'.
Professional Work commitments, post-graduate educational investigations and family priorities contributed to Jason's focus elsewhere until his return to his painterly practice in August 2018.
Jason originally envisaged his return to painting as a slow process of re-education and recapturing techniques once developed before building a themed body of work. What quickly emerged was the start of a new collection reflecting his thoughts and aspirations developed during the last eight years.
What is evident within this small collection of new work on offer is that Jason has retained his trademark gestural and descriptive mark making skills as well as his documented innate use of colour. The approach of these new paintings draws upon inspiration of and compositional studies of the epic biblical paintings by John Martin, atmospheric sci-fi film noir cinematography, emotional responses to musical compositions and most importantly, the process of and response within the act of applying paint - paintings about painting.
The exhibited works presented offer a glimpse of what to expect as Jason's practice re-emerges.
VIEWINGS BY APPOINTMENT - CALL 07773 287827
AbsenceAcrylic on canvas, 2018122cm x 90cm£1,650
BeneathAcrylic on canvas, 201888cm x 67cm£1,450
SurgeAcrylic on canvas, 2018122cm x 90cm£1,650
Beneath IIAcrylic on canvas, 2018122cm x 90cm£1,650
EmergingAcrylic on canvas, 2018122cm x 90cm£1,650
RebirthAcrylic on canvas, 2018122cm x 90cm£1,650
Landscape Study IAcrylic on paper, 201820.7cm x 20.7cm£300
Landscape Study IIAcrylic on paper20.5cm x 14cm£250
Landscape Study IIIAcrylic on paper12.6cm x 8.2cm£150
Landscape Study IVAcrylic on paper20.9cm x 15.2cm£250
GenisisAcrylic on canvas, 2018122cm x 90cm£1,650
StruggleAcrylic on canvas, 2018170.5cm x 114.6cm£2,650
JMPP UK & CHINA PRIZE WINNERS SHOW
OCTOBER - NOVEMBER 2018
Corke Gallery opened its final Independents Biennial Festival Show on Saturday 13 October 2018 with a collection of paintings by UK and Chinese Prize Winners from the John Moores Painting Prize (JMPP).
To mark the 60th year of the JMPP at the Walker Art Gallery the Corke Gallery was delighted to be one of its sponsors because it forms a key strand of the Liverpool Biennial. The exhibition at the Corke Gallery runs until Friday 30 November 2018 and is open 10am – 2pm from Thursday to Saturday.
This is the first time an exhibition featuring several paintings by five JMPP prize winners has taken place and provides a broader insight into the individual artists themes and practices.
Curated by Nic Corke, from the Corke Gallery, past winners from the UK and China include:
Martin Greenland the 2006 JMPP Winner
Nicholas Middleton, twice winner of the JMPP Visitor’s Choice Prize in 2006 and 2010
Xueqing Zhong, the JMPP China 2018 Winner
Duan Xiaogang, JMPP China 2018 Prize Winner
Huo Xumin, JMPP China 2018 Prize Winner
The show features a diverse range of oil painting, from small detailed black and white studies to huge canvasses that dominate the walls and the viewer.
Imaginary landscapes from the UK and China demand the viewer’s attention and continue to reveal more and more the longer you look.
Alternatively abstract and semi abstract works combining broad confident brushwork with architectonic constructions which challenge the laws of perspective and stimulate the senses with a striking cacophony of colour.