The Landscape of Saved Memories
Date: June 7-June29th
Place: Mezzanine Gallery, St Peter's Cork
Tickets: Free Entry, All Welcome
St Peter’s Cork is delighted to be working with Cork artist Mary Cooke. Having met Mary in her studio in the Marina Commercial Park we have been excited to see her latest work hang in our Mezzanine Gallery.
The Landscape of Saved Memories is an exquisite art exhibition and will be on display from the 7th to the 29th of June. The exhibition captures themes of home and family, Mother, Father and especially nursing. Mary’s relationship to her environment also permeates her work, specifically the idea of struggle and female identity.
This series of pieces are ink drawings, execeuted by applying layers of ink brushstrokes. Mary has likened these linear brushstrokes to DNA strands, with the layering effect creating a sense of holographic space. Mary has experimented with different types of water for use with her work, with some pieces dipped in fluoride water, limestone-infused well water from her family home and water from our very own River Lee.
The exhibition showcases some wonderful local talent, with the strong emotional and personal element of the work making this exhibit a memorable and moving experience.
Press Release for Mary Cooke’s The Landscape of Saved Memories
The Landscape of Saved Memories is a series of new works on paper by Mary Cooke, whose work has been largely dealing with personal and emotional issues since she graduated from Winchester School of Art, UK in 2001.
The Landscape of Saved Memories Exhibition 3rd June – 30 June 2017 at St Peter’s, North Main St., Cork City. Opening reception 7th June 5.30 – 8.00
Mary has stated that these new works are a departure from her earlier output, but they are more of a formal departure than a conceptual one. The drawings are executed in ink: her brushstrokes initially seem haphazard: automatic, meandering, free flowing and drifting rather than structured. However, a certain order has been imposed on this seeming chaos. Mary makes reference to biology, to cell structures, likening her lines to DNA strands, and making connections to the Mother, specifically the relationship between the Mother and DNA inheritance. Mary is also interested in the chemical workings of the brain, and it’s endless capacity for memory storage, both in the short term and the long term, and its emotional effects.
The layering of the marks is important to these works: creating a sense of holographic space. The marks were applied to dry paper and then dipped in water, dried and layered on again, each new layer becoming denser and more definite. She experimented with different types of water, noting the effects of each on her marks: fluoride water, limestone infused well water from her family home, River Lee water The significance of location and mood are notable. Some drawings are lighter and more meandering. The drawings from home seem to be darker, perhaps more connected, also more frenetic and denser, inviting one to make conclusions of particular emotional reactions.
If the formal aspect of The Landscape of Saved Memories is new, their concept remains familiar: themes of home and family, Mother, Father, nursing in particular. Also, Mary’s relationship to her environment, in which struggle and female identity dominate her existence. In essence, her work is her truth: it is deep and emotional. Like these marks, it follows a story, her story, her unique monologue.
Suzy O’ Mullane
Join us from 5.30pm on 7th June to officially launch Mary’s latest exhibition