The Cornerstone Gallery is located in and above the large main entrance to Liverpool Hope University’s city centre Creative Campus.
Practice and research are at the forefront of the gallery philosophy and exhibiting artists comprise of a wide range in the best of national and international practitioners. The Cornerstone Gallery strives to engage in the discourse within contemporary visual arts through an exciting and dynamic exhibition line-up. The programme seeks to engage both student and public audiences with a selection of thematic exhibitions involving significant contemporary art practitioners. Cornerstone exhibitions are crucial to the student experience at Liverpool Hope and works exhibited endeavour to enhance both their contextual study and the development of critical faculties. The gallery is also utilised across the Department of Fine and Applied Arts, for student-focussed professional practice exhibitions and related seminars.
Historically the gallery has hosted such artists as John Hoyland, Alan Davie, Stuart Sutcliffe, Paula Rego and many others. More recent exhibitors include Michael Stubbs, Andrew Bick, John Bunker, Choterina Freer and Jemma Egan.
All exhibitions are free and open daily for public viewing from 9.30-5.30pm
Our address is Liverpool Hope University, The Creative Campus, 17 Shaw Street, L6 1HP.
‘There But Different’ Andrew Bracey, Danica Maier and Gerard Williams
23rd October - 24th November
Private View Monday 23rd October, 4-6pm all welcome.
Gallery open daily 9.30-5.30pm
‘There But Different’ is a group exhibition. It explores overlapping tendencies in the approach to making and thinking about the art of three artists, Danica Maier, Gerard Williams and Andrew Bracey. Each of the three artists use something that exists in the world as material (literally, conceptually and/or figuratively) and then do something to it through their artistic processes to change the original function, meaning or use fundamentally. Importantly there is a dual way of seeing the artworks where the original object is still there, but the changed aspect to it by the artist is simultaneously also present.
Andrew Bracey adds his own geometric paintwork to the figures within reproductions of oil paintings, each varying in style, period and type of figuration. By appropriating masterpieces and some lesser-known paintings from the medium’s past, Bracey creates new works that are symbiotically challenged by, celebrate and are overwhelmed by the originals. Andrew is an artist based in Waddington, England. He studied fine art at Liverpool John Moores and Manchester Metropolitan Universities. Bracey has exhibited extensively with solo and group exhibitions alongside curating exhibitions such as H-Project, Bangkok. He is currently working as a Programme Leader of MA Fine Art at The University of Lincoln.
Andrew Bracey "ReconFigure" Jean-Auguste-Dominique Ingles (2013)
Danica Maier uses embroidery samplers as a starting point to create intricate drawings that mimic the line of stitch but subvert the original through her marks so the works are not what they first seem. These new works investigate the historical stitched objects by repeating and redrawing from their original patterns, depicting the mark of stitch and imagery found within them, whilst also subvert them in unexpected and quietly shocking ways. Danica is originally from the USA. Danica Maier completed an MFA in painting at University of Delaware in 1998 before receiving an MA in Textiles from Goldsmiths in 2002. Over the last 20 years Maier has exhibited and curated exhibitions nationally and internationally most recently including solo exhibition Stitch & Peacock, The Collection Museum, Lincoln and is currently working as a Senior Lecturer in Fine Art at Nottingham Trent University.
Danica Maier "Skein/Flap, 2015
Gerard Williams’ ‘Cultural Currency’ consists of a number of wooden tablets, each containing genuine bank notes from around the world. These are made partially visible through small ‘windows’ disclosing numeric denominations as well as isolated details such as illustrations, patterns etc. Whilst the bank notes are loose they are also permanently sealed within the work, therefore in order to realise their monetary value, or their value as collectable banknotes, the artwork would have to be destroyed. Gerard's work has been widely exhibited in public galleries and international institutions. He has also worked with major commercial galleries and gallerists in the UK and abroad. Williams work has been acquired by and is held in a number of private and public collections including The Arts Council of England Collection; The Contemporary Art Society in London and The Sandretto Re-Rebaudengo Foundation in Turin, Italy.
Gerard Williams "Cultural Currency", 2015
'Dislocation' seeks to examine juxtaposing fragments of life. At times we can feel connected to ourselves, our environments and our communities, our inner and outer worlds. Other times dislocated fractions emerge and we can feel strange and estranged from our collective.
This collective body of work has been produced within site specific realms, where the everyday is challenged, from drawings, prints and collage ‘Dislocation’ highlights disturbances within the familiar - environments, spaces and objects collide to form a visual yet darker underpinning.
Dino Soteriou and Victoria Wheeler are showing in the lower gallery area from 30 October until the end of November 2017
The Cornerstone GalleryLiverpool Hope UniversityThe Creative Campus
T: 0151 291 3997