The Cooper Gallery: Recent Episodes
The Cooper Gallery
Allegories of the Senses - Audio Guide
We have worked collaboratively with the Arts Council as part of the Arts Council Collection Select Scheme. The works have been chosen along with pieces from our outstanding collection which replicate or stimulate the five senses of sight, smell, touch, taste and hearing.
Hand-woven and embellished textile This extravagantly textured woven textile piece was commissioned for the Cooper Gallery for this exhibition. The piece was designed to be touched and will be used for handling sessions by the gallery once Covid restrictions have been lifted. The colours, textures and embellishments invite interaction. The artist is registered blind and her use of contrasting colours helps her to navigate her work on the loom.
This limited edition eau de parfum was created by award-winning perfume designer Azzi Glasser with Antony Gormley for his retrospective at the Royal Academy of Arts in 2019. Iron is inspired by the smell of Gormley’s studio “I wanted to capture the DNA scent print of IRON”
In dark, earthy colours and the yellow ochres of nicotine stains, two men are stood together, the one on the left is offering up his cigarette for the other man to use to light his. The only highlights in the image fall on the cigarettes and the men’s hands. The clothing they are wearing, and the tool that the man on the left is holding, shows that they are labourers and are likely to be in a work environment. The gesture between them suggests friendship and a level of camaraderie, despite the tough, hard environment that the men are in. The colour palette evokes the taste and smell of the cigarettes.
In this ink sketch, we can see the remnants of factory work in the foreground with rolling hills and factories behind. The factories are dark and foreboding and smoke plumes from their chimneys and merges with the clouds in the sky. The use of grey wash and no colour helps to create the oppressive feeling of this piece which, through the mark making used for the smoke and smog, and the rubbish in the foreground, the viewer can imagine the dirty, smoky smells and lack of fresh air that would have been present in a factory environment.
A male figure can be seen at the forefront of the image; he is wearing apron and workman’s clothes and is heating a tool in a furnace. Behind him are simple marks that depict an industrial setting with stone flag floors behind him on both the left and the right of the picture. Most of the picture is created using various shades of grey with oranges, reds and pinks used where the furnace is and to depict the area around it where heat would be. There is a rough, sketchy nature to the image, especially the depiction of the man who is represented as a line drawing. The lack of detail in the image, most notable in the background, still contain markings that allow the viewer to imagine the industrial, workshop setting. The use of red in the centre of the image, behind the worker, serves two purposes; it frames the central figure, but also depicts the heat of the environment. The simple mark making and effective use of colour create an almost claustrophobic scene where the darkness in the background and the hints of red suggest the smell of smoke and molten metal and the sensation you get when you breath in stuffy, hot air.
A photograph depicting bright coloured flowers including tulips and tropical flowers. The background is a deep blue and the bright pinks, reds and yellows of the flowers, and the rich green of the grass, stand out and display the vibrancy of nature. The plants and flowers also show many different textures; the tropical flowers on the left are spikey, the red ones in the centre are bushy, and, on the right, the four tulips are curved and smooth. The photograph has been taken from a low viewpoint which makes the flowers appear huge, as if you were walking through a jungle of them. The overall effect is quite surreal and bares a similarity to scenes from Alice in Wonderland. The artist froze the flowers to make this piece, so they would have had no perfume and would have wilted and browned quickly as they thawed.
This vibrant painting shows a warm blue sky and a lush green leafy background with a woman in the foreground holding flowers. She has olive skin, curly dark hair, warm friendly eyes that invite the viewer in and a slightly smile to her mouth. She’s wearing a white shirt with wide ruched sleeves and a full red skirt. Tied loosely around her shoulders with dark brown edges and an orange and yellow pattern. On the right-hand side of the picture, she is extending out a woven platter with 4 roses on it: a yellow one, a peach one, a pink one and a red one. On the left-hand side, in her right hand she is holding a yellow rose. Her fingers that are holding the rose are mimicking a beckoning movement and the outstretched platter almost invites the viewer to smell the roses. The use of colour in this painting is reminiscent of a warm summer’s day fragrant with roses.
A woman prepares food stood in front of a window through which there is a view of hills, farmland, and harvesting. The woman is preparing fish. Fruit, vegetables and there is a glass of red wine on the table. The simple blue gingham tablecloth, the brown ceramic jug on the table, and the glass jar near the window with a single sprig of fresh herbs in it, all help to emphasise that this is a rustic scene, evoking the joy of locally sourced ingredients and wholesome, home cooking.
A recipe written in old fashioned handwriting. The writing is white and is presented on a blue background – like an architect’s blueprint. Reading a recipe, conjures in the imagination the smells and sounds of cooking and the taste of each ingredient. This recipe is for fried pork with sweet and sour sauce. This piece raises the question of why we record recipes; is it to remind ourselves? Or maybe its to share them with others. Food, especially home cooked food and recipes passed down through families, can be very personal. The taste of a favourite dish can evoke so many memories and feelings.
This photograph can almost be split into two halves, the top half shows a painting of the last supper mounted to the wall. In front of the painting, in the bottom half of the image, three people can be seen sat around a table having tea. In the foreground, there’s the back of the heads of an older couple, the man has white hair and the woman is wearing a hat. In between them, sat opposite, there’s a second woman wearing a wide brimmed hat and spooning sugar into her tea. This photograph captures a particular occasion, in Hebdon Bridge, whilst also raising wider discussions around the nature of eating together and the symbolism that this evokes, from the last supper through to simply having tea with friends.
This collection of six glass fruits uses texture and colour to show the markings and lustre of fruit. The plum orange and lemon have markings on them to depict the texture on the real life fruits while the apples and peppers have a high shine polish finish. Through the accurate representation of the textures you can imagine what it would feel like to handle, eat or cook the fruits. The high gloss finish on the apple is especially effective as it triggers the same feelings as when you bite into a fresh crisp juicy apple
On a dark stone table sits a pile of fruit featuring, amongst others, pears and plumbs and an array of seasonal bounty including an open horse chestnut revealing its conker inside. The fruit looks freshly picked as it still has its leaves attached. The colours used on the display are bright and vibrant and this should be an appetising display of late summer or early autumn fruits and yet, when we look closely, we can see that everything is riddles with insects. There’s a snail in the bottom left corner crawling down the edge of the table, a wasp crawling over the pear in the centre, a caterpillar on one of the leaves just below it. This is a Dutch painting. Often in Dutch works such as this, the paintings are filled with elements of symbolism. The insects crawling cross the fruit may have other meanings.
This pencil sketch of an elderly man sitting on a chair with a small round pub table in front of him. He wears traditional northern working-class clothing including a flat cap and a jacket. Whilst the whole image has sketchy line work, there’s significantly more detail used for the man. The pencil lines are also heavier which show that the man is the focus of the image. In front of the man is a bottle that we can assume he is about to drink from.
Painting depicting a little girl with blonde hair and a blue and red dress stealing oranges from a table set up with a coffee pot and sugar dish. On the table is a white tablecloth laid over a patterned one. Behind her there’s a large chair which highlights how small the girl is. The girl is in the centre of the picture and can be seen with one arm outstretched grabbing an orange, the other hand is holding a folded-up apron that she’s using to smuggle other oranges in. The oranges in the apron are falling out and one has rolled onto the floor. In the background, on the left-hand side, a woman can be seen entering the room with her hand raised as if she is about to tell the girl off. Her outfit suggests that she is probably a maid. Oranges at this time would have been quite a luxury item and so the girl stealing them would be the equivalent to a child sneakily taking luxury chocolates or cakes today.
A high contrast image featuring 20 black and white photographs of human faces against a black background. The portraits are displayed in a grid format with 4 horizontal rows of 5. The portraits are of men, women and children and display a range of ages, from a baby through to elderly people. This is quite an unsettling image, as the faces are dissociated from bodies, backgrounds, or context, and merely stare out at you from the darkness.
See the little creature in the giant cage. David Shrigley. Marker pen on paper
A simple sketchy line drawing in black ink of a large cage with a small black creature inside. The cage is in the shape of a cube with vertical and horizontal lines. The black creature is sat on the ground in the middle of the cage looking out at the viewer. The creature resembles a cat with its long tail, pointed ears and big eyes. The writing at the top of the sketch reads see the little creature in the giant cage rattling about like a pip in a drum. We are similar I think it and I until my parents return from their holiday in Cyprus. The giant cage compared to the small creature coupled with the text suggests the feeling of being alone while others are out of the house and possibly the feeling of going stir crazy
Oil on panel. This oil painting features two figures in the centre a young woman dressed in ivory blue is sat with a sketch book resting on her lap and behind her a man is resting his hand on the back of her chair looking down at what she is drawing and gesturing to the bust on the left that she seems to be sketching from. From this setup it can be seen that he is her teacher. The light is falling on and illuminating the woman more than the man which suggests she is the focal point of the image how she is learning to draw using observation is the prominent feature. The strong rich blue the woman is wearing is not an insignificant choice by the artist, this particular shade of blue was created from an especially expensive pigment and therefore represents wealth and opulence. In addition this colour is also commonly used in the robes worn by the Virgin Mary in paintings which in this case could also be representative of the woman's youth and innocence
Oil acrylic on hard board. This landscape depicts a group of men watching pigeons flying. They are stood on top of a hill which is seen in the left hand side of the painting. Just in front of the hill on the left hand side there's a small collection of buildings which resemble traditional northern houses with sloped roofs and prominent chimneys. On the left hand side are six men stood and sat in a group looking towards the top right hand side of the picture they are stood closer to the viewer than the houses. On the right hand side there is a man stood with his back to the viewer also looking in the same direction, to the right of him another house can be seen. On the centre of the image, at the forefront is a man that we can see from the waist up, he appears to be one of the focal points of the painting. He is wearing a dark jacket and traditional flat cap, under his right arm is a box with a pigeon inside, he is also looking up to the right hand corner In this top right hand corner where all the men are looking a bird, likely to be a pigeon is flying in the sky. The colours in this image are quite dark and muted and give the impression of it being an overcast day. The brush strokes on this piece of work are quite rough and don't feature fine detail
Oil on canvas. This painting depicts a young woman in a golden and yellow hue dress that is elaborately with floral patterns, lace, thrills and ribbons. In her hand is a book that is open she is perched on an ornate golden pink stool and sat next to a table draped in a rich green table cloth that has the appearance of velvet. Her foot is rested on a small red foot stool on the floor behind the woman is an ornate furniture on the right and a window on the left. The window shows a garden scene on the table is a collection of glass ornaments, this is quite a contradictory image as the open book gives the impression she was just looking at it in the process of reading however the setup and the stage position that she is sat in indicates this was a staged environment for the portrait designed to show intellect and opulence
This painting is of flowers in a vase the vase is stood on a stack of books. To the right is a long orange curtain and to the left is the edge of the window frame. The window is the light source for the scene. The vase is burnt orange almost red in colour and the floral arrangement contains a variety of pastel colour flowers and two darker ones including a darker red flower at the front. This red flower almost resembles a poppy. In contrast to the red vase the book the vase is standing on is green as is the windowsill to the left, this makes each other stand out. In the background the wall reflects a wash of the pastel colours depicted in the floral arrangement. This is a still life picture which demonstrates the detail and beauty that can be observed in the everyday by taking a closer look.
This huge shaped textile with its rich colours and various textures cries out to be touched. The different threads and techniques used in each section would each feel quite different. The image itself is abstract from suggests a face or possibly a mask. The shape of the piece reflects this being rounded at the top and narrowing to the base. There's a shape at the top of the piece which resembles an eye coming from this are loose long strands of wool which partially makes the piece look like its melting but could also represent tears. The rich pallet of colours, yellows, blues, greens, oranges together suggest life and action
The background colours in this image divide it into three sections; the top has a dark sky, the centre is much lighter but features black, foreboding representations of buildings, and the bottom representing the pond, is also very dark. Reaching up from the bottom left hand side, climbing out of the darkness are spikey red plants and grey trees with sharp, spiked branches that are quite aggressive and violent. In the bottom centre of the image, in the foreground, is an old fashioned, upside town pram that appears to have just been thrown away into the quarry pond. The sharp lines used to represent the spokes on its wheels look spikey and dangerous, like the trees, and certainly don’t represent the warm, friendliness that we’d expect from something used for babies. The use of mostly black, white, grey and red in this painting, along with the anger and feelings of fear created by the use of spikey lines, makes this picture feel quite oppressive and depicts that the quarry pond is dangerous. You wouldn’t want to be in there and you wouldn’t want to touch anything.
A round textured ceramic piece with a small round opening at the top that appears to have been pinched upwards. This is a hollow vessel. The overall texture of the piece is quite rough with large dents and markings on that resemble small craters. To touch this piece, it would feel like holding an unpolished rock or stone. Some of the marks are darker and look almost like burn marks. Most of the piece is a warm, pale brown colour. Finally, in contrast to the heavily textured areas, white glaze with a smooth texture has been poured over part of the object from the top, leaving it to trickle towards the bottom.
This short, round vase has a slightly shiny blue glaze that is the same colour as the sky in summer. The vase has a short neck on it which stops it detracting from the shape of the vase, which is its main feature. The vase itself has five ridges circling it horizontally. These look like the ridges that are formed naturally in the process of throwing a pot on a ceramicist’s wheel. The overall effect, combined with the blue glaze, is one of the waves moving in a warm sea.
This ceramic vase is round, and taller than it is wide. It starts narrower at the base and slowly gets wider before quickly narrowing at the neck of the vase before fanning out at the top. The top of the vase flares out and consists of six scalloped edges. The vase has vertical ridged stripes that travel from the top of the vase down to the base and follows a sequence of one wide ridge, three thinner ones, and then another wide one. This pattern is repeated six times around the vase. The ridges stand up from the surface of the vase and are a neutral cream colour. They contrast the rest of the vase’s deep khaki green finish. The overall effect of the vase is like a seed pod, with the contrast in colours being reminiscent of a sunflower seed.
Shopping. John Leech. Pencil.
A pencil sketch depicting a woman in period clothing wearing a bonnet under her chin with a ribbon. She is at the centre of the image sat pondering dress making that is being shown to her by a male sales person on the right hand side.On the left hand side of the sketch a young, probably adolescent boy can be seen in smart dress including a top hat carrying a shopping basket on his arm. The way that he is standing near to the woman looking at the direction of the interaction between the woman and the man suggests that he might be carrying the basket for her. At this time children went to school at a young age and could possibly be her servant. The image is a line drawn sketch and has different levels of detail at different locations. For example we can see the expressions on their faces but detail on the clothing is missing. The mans hand is stroking the fabric giving the impression that the feel and texture of it is part of the appeal. In addition the sketchy line work suggests how a bustling crowded environment might feel
This painting depicts the body of Christ being brought down from the cross following his crucifixion. He is the central figure, nude except for a loin cloth, and is being supported in his descent by a white cloth. The cloth is being held by 8 figures stood or knelt around him; 4 are stood on ladders to give them extra height. The clothing that the figures are wearing display a wide array of finishes and textures; the woman knelt on the ground in the bottom left-hand corner has a satin like sheen to her clothing, the man above her and to the far left appears to be wearing rich velvet, the man to her right is wearing courser, orange material. These depictions of different fabrics could be symbolising the different levels of wealth and life experiences of the group. The cloth supporting the crucified figure is being held in the hands of the group and, in addition, is being held between the teeth of the elderly man in the top right. The prominence of hands grabbing and holding, as well as the feeling of the cloth between the man’s teeth hold a strong tactile sense in this picture.
This video uses a mirror-effect such that each half of the screen is a reflection of the other. A single figure dances and moves around against a bright orange background in costumes that suggest different genders and cultures. Sometimes the mirror-effect makes the character appear as strangely fragmented, floating body parts and sometimes as two reflected, interacting figures. The title suggests these are twins rather than a single character and its reflection. The soundtrack is upbeat and the whole piece feels joyful and irreverent.
Kottbusserdam Pictures and Turkish Music: Karakus Doner Havada. Eduardo Paolozzi
This print in muted green, blue and beige ink in an off white background shows a variety of different shapes, lines and patterns. Parts look almost like tubes and cogs in a diagram for a machine. Music is referenced in the title of the work, with this in mind each shape and line could represent a different sound or note. For example the circles could represent the beat of a drum and the wavy lines the melody
A lute is leaning against the wall in the corner of a room. The main body of the lute is central and leans towards the right-hand side of the picture. The floor is brown with a light brown wall on the right of the lute and a grey one to the left. The lute itself is yellow with a selection of browns making up the fret board. The style of the work is like early sketches within Cubism; this is especially apparent on the right-hand edge of the instrument where the underside can also be seen even though it’s a 2D piece of work. Showing multiple angles of an object or subject was a common feature of the Cubist artists. The instrument, leaning against the wall on its own, invites the viewer to want to pick it up and play it.
Pan. Gertrude Spencer Stanhope. Bronze sculpture
This sculpture of Pan features an array of textures that depict his hair and the rocks he is sat on while he plays his pipe. The expression of his face and the angle of his head and body suggests a playful and frivolous nature to his music. His fingers only hold on to the instrument lightly and are positioned so that they are dancing over the holes in the pipe which further suggests a quick paced tuned is being played. You can almost imagine other mythical creatures dancing around him
An elderly woman can be seen walking through a doorway. She’s wearing a dark red jacket and skirt featuring a delicate white ornate pattern and has a small pale handbag over her arm. Her hair is short and white and tucked behind her ear and on top of her head she’s wearing a lilac and black hat. A hearing aid is visible on her exposed ear. The doorway that she’s walking through is dark with a wrought iron gate and is surrounded by the white walls of the building. The white walls frame the image and the woman’s white hair in the centre of the image draws the viewer in to the doorway with her. The darkness of the doorway surrounding the woman could be seen to symbolise the isolating nature of hearing loss.
A group scene is shown with a woman in the centre and two children at either side of her. There’s a boy on the left who is sat on a blanket on a wall playing a recorder. On the left is a girl sat on the step that the woman is stood on, leaning against the wall with her back to the viewer. The girl is playing a string instrument. The building they are all in resembles a rustic house and definitely not something lavish and inhabited by wealthy occupants. It’s quite dark and bare, although there are corn cobs on the ground and a ceramic jug on a ledge on the right. However, despite being clearly quite poor, the painting suggests being creative, cultured, and musical. By having the boy sitting on a blanket, rather than on the cold stone, a warmth of family is suggested. Whilst we can’t be sure of the relationship of the woman to the children, her interested gaze at the girl playing the instrument suggests that she could be their teacher or possibly just enjoying the sound of the music.