The sources of David Stockley's paintings are photographs that he has taken of individuals in public spaces - generally places of transit. The photographs are taken quickly and he makes no attempt to resolve any formal qualities at this stage, preferring to leave such questions open so that he can address them as he manipulates this raw material. Stockley also collects images (both found and originated by the artist) of dilapidation, debris and detritus.
The images are mediated through processes of collage (figures and other elements may be moved, abstracted and introduced from the same or other photographs). Other mediation processes involve painting over the images, creating sketches of them that serve as secondary sources, as well as layering and scumbling paint in the final work in order to produce visual uncertainties which may themselves be analogous to psychological or ontological ambiguities.
The outcomes may produce juxtapositions that were never present. Stockley is interested in creating juxtapositions that may question the nature of relationships between individuals, the permanence of physical structures around us and assumptions about the environmental status quo. His work may retain elements of the construction process used. These marks, which relate to the processes of collage and mediation through drawing, may be read as metaphors for the way that what seems to be represented might well have been otherwise. Contemporary artists relevant to his practice include Adrian Ghenie, Karin Mamma Andersson, Michael Borremans and Hannah Starkey.
Wimbledon College of Art, University of the Arts London 2007 - 2010
The Charleston Trust "Quentin Follies", 2006
Wimbledon Group Exhibition, "Feeding a little life", 2008
Group Show at Deutche Postbank,Queen Street,London, 2008
Group Show, Cobden Club, Notting Hill, London June 2010
Group Show, HangArt 7, Salzburg, Austria October 2010
The Other Art Fair, Bargehouse, Oxo Tower Wharf, London November 2011
Work in the collections of Landmark PLC, Dietrich Mateschitz