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skin/Image_1AE2477D_0D60_C2E1_419F_4A1AA9AAD7A7_mobile_en.jpg Image_1D8692E7_0D61_43E1_41A8_C5FD62D7FFF0.url = skin/Image_1D8692E7_0D61_43E1_41A8_C5FD62D7FFF0_en.png Image_1D8692E7_0D61_43E1_41A8_C5FD62D7FFF0_mobile.url = skin/Image_1D8692E7_0D61_43E1_41A8_C5FD62D7FFF0_mobile_en.png Image_1D8702E7_0D61_43E1_41A6_86050A19A422.url = skin/Image_1D8702E7_0D61_43E1_41A6_86050A19A422_en.jpg Image_1D8702E7_0D61_43E1_41A6_86050A19A422_mobile.url = skin/Image_1D8702E7_0D61_43E1_41A6_86050A19A422_mobile_en.jpg ### Multiline Text HTMLText_1556707C_0D61_5EE0_41A3_54A632839EFE.html =
Maud Cotter
(Irish, born 1954)
& bone revisited, 2021


From the series a consequence of ~
plastic, birch ply, prestia, stainless steel, cement,
hazard tape, baling twine, air column bag,
turnbuckle, steel cable, epe foam cord
Courtesy of the artist and domobaal


Artist statement for the series a consequence of ~


“I remember those early days of the first lockdown walking in an empty city and being enthralled by a feather spinning in the wind, caught in a spider’s web, and the huge built world in stillness, the end of a certain kind of time and the beginning of another. In this new time a park bench has embroidered itself for the oncoming revelry. Knobs of moss have swollen, upholstering snug spaces. Crows cross the street like citizens of a new wonderland. All the consequence of a changing reality. The acceleration of consequence is pervasive, as we manufacture unnecessary commodities. This tensions the place of making. I change to a different pace of assimilation, I slow down, dig deeper. The body is stretched paper thin.”


– Maud Cotter
HTMLText_15CC05E0_0D5F_41E0_41A3_A10663E9E656.html =
Maud Cotter
(Irish, born 1954)
the moon is falling, 2018
From the series a consequence of ~
Plastic sheeting, prestia, aeroboard, stainless steel Courtesy of the artist and domobaal
“In poetry all things seem to touch so they are.”


For Cotter, this quote, from Susan Howe’s book of essays The Quarry, describes “the relational space that Howe opens in her poetry, suggesting that everything that we touch brings us into being with it. Coming into our minds in relational form as experience, its pulses enfold with our own. What I touch with my mind will make me who I am.”


“Folding and welding plastic for the moon is falling created a semblance of wellbeing, a florid and repeating order woven with an asphyxiating and ruinous material. The thicker gauge blue plastic I used, pulls the other thinner transparent plastic into line-a semblance of life. This dead field which mimics life is a core ingredient of Wallace Steven’s dystopian work The Plain Sense of Things, revealing existence to be “an inevitable knowledge, required, as a necessity requires.”


Apparently, the moon gives an impression of falling as it orbits the Earth elliptically; sometimes it is large and close by, other times it appears to fall away.” Maud Cotter
HTMLText_15EFA51C_0DA0_C627_4188_B2908F171E10.html =
Maud Cotter
(Irish, born 1954)
without stilling, 2017-18


From the series a consequence of ~
1.5 mm Finnish birch ply
Courtesy of the artist and domobaal


“Work flows from making and watching for points of entry, for ways of harnessing the energy and volition within matter.


A merged practice of looking, thinking, and making, works for me. These strands need time to integrate, time to gain strength of purpose.


Finding a way forward, is an ongoing challenge, a place where propagative ideas and making become the engine of sustainability.


The nature and meaning of physical reality is important to me. Our immersion within matter is a fit subject for a sculptor such as myself.


The field of play is much more varied than it might initially appear. As Gerard Manley described in his poem Pied Beauty, “All things counter, original, spare, strange; Whatever is fickle, freckled (who knows how?)”.”



HTMLText_1AE2777D_0D60_C2E1_41A3_8B81C08081FD.html =
Maud Cotter
(Irish, born 1954)


a dappled world, one, 2017
insulation board, washing line, aeroboard, cardboard,
prestia, birch ply, paint, mild steel, pencil line


a dappled world, two, 2017
birch ply, paint, rubber hose, Waterford crystal, mild
steel, prestia, cable tie, wire, pencil line


a dappled world, three, 2017
birch ply, paint, plastic mesh, thread, mild steel,
prestia, sponge, pencil line


From the series a consequence of ~
Courtesy of the artist and domobaal


The Dappled World: A Study of the Boundaries of Science by Nancy Cartwright holds the title of this work, a dappled world.


Cartwright explains, “the laws that describe this world are a patchwork, not a pyramid. They do not take after the simple, elegant, and abstract structure of a system of axioms and theorems. Rather they look like— and steadfastly stick to looking like— science as we know it: apportioned into disciplines, apparently arbitrarily grown up; governing different sets of properties at different levels of abstraction; pockets of great precision; large parcels of qualitative maxims resisting precise formulation; erratic overlaps; here and there, once in a while, corners that line up, but mostly ragged edges; and always the cover of law just loosely attached to the jumbled world of material things.
”Cotter describes it as “an eclectic, rigorous, and playful description of physical reality.”



HTMLText_1556707C_0D61_5EE0_41A3_54A632839EFE_mobile.html =
Maud Cotter
(Irish, born 1954)
& bone revisited, 2021


From the series a consequence of ~
plastic, birch ply, prestia, stainless steel, cement,
hazard tape, baling twine, air column bag,
turnbuckle, steel cable, epe foam cord
Courtesy of the artist and domobaal


Artist statement for the series a consequence of ~


“I remember those early days of the first lockdown walking in an empty city and being enthralled by a feather spinning in the wind, caught in a spider’s web, and the huge built world in stillness, the end of a certain kind of time and the beginning of another. In this new time a park bench has embroidered itself for the oncoming revelry. Knobs of moss have swollen, upholstering snug spaces. Crows cross the street like citizens of a new wonderland. All the consequence of a changing reality. The acceleration of consequence is pervasive, as we manufacture unnecessary commodities. This tensions the place of making. I change to a different pace of assimilation, I slow down, dig deeper. The body is stretched paper thin.”


– Maud Cotter
HTMLText_15CC05E0_0D5F_41E0_41A3_A10663E9E656_mobile.html =
Maud Cotter
(Irish, born 1954)
the moon is falling, 2018
From the series a consequence of ~
Plastic sheeting, prestia, aeroboard, stainless steel Courtesy of the artist and domobaal
“In poetry all things seem to touch so they are.”


For Cotter, this quote, from Susan Howe’s book of essays The Quarry, describes “the relational space that Howe opens in her poetry, suggesting that everything that we touch brings us into being with it. Coming into our minds in relational form as experience, its pulses enfold with our own. What I touch with my mind will make me who I am.”


“Folding and welding plastic for the moon is falling created a semblance of wellbeing, a florid and repeating order woven with an asphyxiating and ruinous material. The thicker gauge blue plastic I used, pulls the other thinner transparent plastic into line-a semblance of life. This dead field which mimics life is a core ingredient of Wallace Steven’s dystopian work The Plain Sense of Things, revealing existence to be “an inevitable knowledge, required, as a necessity requires.”


Apparently, the moon gives an impression of falling as it orbits the Earth elliptically; sometimes it is large and close by, other times it appears to fall away.” Maud Cotter
HTMLText_15EFA51C_0DA0_C627_4188_B2908F171E10_mobile.html =
Maud Cotter
(Irish, born 1954)
without stilling, 2017-18


From the series a consequence of ~
1.5 mm Finnish birch ply
Courtesy of the artist and domobaal


“Work flows from making and watching for points of entry, for ways of harnessing the energy and volition within matter.


A merged practice of looking, thinking, and making, works for me. These strands need time to integrate, time to gain strength of purpose.


Finding a way forward, is an ongoing challenge, a place where propagative ideas and making become the engine of sustainability.


The nature and meaning of physical reality is important to me. Our immersion within matter is a fit subject for a sculptor such as myself.


The field of play is much more varied than it might initially appear. As Gerard Manley described in his poem Pied Beauty, “All things counter, original, spare, strange; Whatever is fickle, freckled (who knows how?)”.”



HTMLText_1AE2777D_0D60_C2E1_41A3_8B81C08081FD_mobile.html =
Maud Cotter
(Irish, born 1954)


a dappled world, one, 2017
insulation board, washing line, aeroboard, cardboard,
prestia, birch ply, paint, mild steel, pencil line


a dappled world, two, 2017
birch ply, paint, rubber hose, Waterford crystal, mild
steel, prestia, cable tie, wire, pencil line


a dappled world, three, 2017
birch ply, paint, plastic mesh, thread, mild steel,
prestia, sponge, pencil line


From the series a consequence of ~
Courtesy of the artist and domobaal


The Dappled World: A Study of the Boundaries of Science by Nancy Cartwright holds the title of this work, a dappled world.


Cartwright explains, “the laws that describe this world are a patchwork, not a pyramid. They do not take after the simple, elegant, and abstract structure of a system of axioms and theorems. Rather they look like— and steadfastly stick to looking like— science as we know it: apportioned into disciplines, apparently arbitrarily grown up; governing different sets of properties at different levels of abstraction; pockets of great precision; large parcels of qualitative maxims resisting precise formulation; erratic overlaps; here and there, once in a while, corners that line up, but mostly ragged edges; and always the cover of law just loosely attached to the jumbled world of material things.
”Cotter describes it as “an eclectic, rigorous, and playful description of physical reality.”



HTMLText_1D8732E7_0D61_43E1_419B_E74EFFEED7F9.html =
Kara Walker: Cut to the Quick
from the Collections of Jordan D. Schnitzer and His Family Foundation


May 20, 2022 – September 25, 2022


Offering a broad overview of her career, this exhibition positions Kara Walker (b. 1969) as a leading artist of her generation through more than 80 works in a variety of media. Created between 1994 and 2019, these powerful and provocative images address themes of racism, gender violence, and exploitation, along with power structures like imperialism and colonialism, especially as they play out in the histories and hierarchies of Art. Walker is best known for her large-scale silhouette cutouts that have stirred controversy though their depictions of exaggerated racial and gender caricatures and imageries of the Antebellum South.


Walker’s process involves extensive research in literature, historical records, world and art history, and popular culture. Intentionally unsentimental and ambiguous, the works are disturbing while also utilizing satire and humor, challenging viewers to consider America’s painful legacy of slavery and racism that we continue to contend with today.


This exhibition was originally organized for the Frist Art Museum, Nashville, TN by co-curators former Director Susan H. Edwards, and poet Ciona Rouse. Curated for MOCA Jacksonville by Ylva Rouse, with the support of Shana Dickler.



Community Advisory Committee for the Exhibition


Deja Echols
Yvenie Etienne
Hope at Hand
Dr. David Jamison
Chad Labenz
Dr. Tru Leverette
Princess Simpson Rashid
Sheila Spivey
Adonnica L. Toler




HTMLText_1D8732E7_0D61_43E1_419B_E74EFFEED7F9_mobile.html =
Kara Walker: Cut to the Quick
from the Collections of Jordan D. Schnitzer and His Family Foundation


May 20, 2022 – September 25, 2022


Offering a broad overview of her career, this exhibition positions Kara Walker (b. 1969) as a leading artist of her generation through more than 80 works in a variety of media. Created between 1994 and 2019, these powerful and provocative images address themes of racism, gender violence, and exploitation, along with power structures like imperialism and colonialism, especially as they play out in the histories and hierarchies of Art. Walker is best known for her large-scale silhouette cutouts that have stirred controversy though their depictions of exaggerated racial and gender caricatures and imageries of the Antebellum South.


Walker’s process involves extensive research in literature, historical records, world and art history, and popular culture. Intentionally unsentimental and ambiguous, the works are disturbing while also utilizing satire and humor, challenging viewers to consider America’s painful legacy of slavery and racism that we continue to contend with today.


This exhibition was originally organized for the Frist Art Museum, Nashville, TN by co-curators former Director Susan H. Edwards, and poet Ciona Rouse. Curated for MOCA Jacksonville by Ylva Rouse, with the support of Shana Dickler.



Community Advisory Committee for the Exhibition


Deja Echols
Yvenie Etienne
Hope at Hand
Dr. David Jamison
Chad Labenz
Dr. Tru Leverette
Princess Simpson Rashid
Sheila Spivey
Adonnica L. Toler




HTMLText_1D8682E7_0D61_43E1_41A8_FEF78BDA8FEB_mobile.html =
Project Atrium: Maud Cotter
what was never ours to keep



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Title Sponsor
Joan and Preston Haskell


Supporting
Driver, McAfee, Hawthorne & Diebenow, PLLC.


This exhibition was made possible, in part, with support from Culture
Ireland. Additional support by the City of Jacksonville, the Cultural
Council of Greater Jacksonville, the Florida Division of Cultural Affairs, and the
University of North Florida. Special thanks to the Irish Arts Center, New York


HTMLText_1D8682E7_0D61_43E1_41A8_FEF78BDA8FEB.html =
Project Atrium: Maud Cotter
what was never ours to keep



HTMLText_1D8792E7_0D61_43E1_4186_F52CCE86C116.html =
Title Sponsor
Joan and Preston Haskell


Supporting
Driver, McAfee, Hawthorne & Diebenow, PLLC.


This exhibition was made possible, in part, with support from Culture
Ireland. Additional support by the City of Jacksonville, the Cultural
Council of Greater Jacksonville, the Florida Division of Cultural Affairs, and the
University of North Florida. Special thanks to the Irish Arts Center, New York


HTMLText_1D87F2E7_0D61_43E1_4181_587120D05E42_mobile.html =
Maud Cotter (b. 1954, Wexford, Ireland) lives and works in Cork, Ireland. An acclaimed artist, both in her homeland as well as internationally, Cotter uses glass, wood and steel, as well as other man-made materials such as cardboard, industrial rubber and clear plastic, to create three dimensional works through which she explores our definitions and boundaries, both physical and mental, of material form and space.


“So much human embroilment flows from the slightest deviation to the left or right.”


what was never ours to keep (from “A Poem That Leaves Behind the Ocean” by American Poet Jim Moore) continues Cotter’s probe into our relationship with matter, and the forces that govern this relationship, in this case, gravity.


“The achievement of a vertical line is an aspiration, lifting the viewer upwards beyond groundedness, like a single high-pitched sound.”


The artist’s unique aesthetic language and understanding of space manifests in the metal and wood elements, made impossibly light, together with dragon skin and other humble components, that run from the skylight to the floor in a signature display of poetic simplicity and a celebratory sense of joy in the materials that form part of our everyday.


“Stop, eyes closed to feel the flood of matter through the spread of open fingers, as the material world spills into new formation.”




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Company Name
www.loremipsum.com
info@loremipsum.com
Tlf.: +11 111 111 111
HTMLText_11900635_0DA0_C261_41A1_882001635391.html =
Company Name
www.loremipsum.com
info@loremipsum.com
Tlf.: +11 111 111 111
HTMLText_1D87F2E7_0D61_43E1_4181_587120D05E42.html =
Maud Cotter (b. 1954, Wexford, Ireland) lives and works in Cork, Ireland. An acclaimed artist, both in her homeland as well as internationally, Cotter uses glass, wood and steel, as well as other man-made materials such as cardboard, industrial rubber and clear plastic, to create three dimensional works through which she explores our definitions and boundaries, both physical and mental, of material form and space.


“So much human embroilment flows from the slightest deviation to the left or right.”


what was never ours to keep (from “A Poem That Leaves Behind the Ocean” by American Poet Jim Moore) continues Cotter’s probe into our relationship with matter, and the forces that govern this relationship, in this case, gravity.


“The achievement of a vertical line is an aspiration, lifting the viewer upwards beyond groundedness, like a single high-pitched sound.”


The artist’s unique aesthetic language and understanding of space manifests in the metal and wood elements, made impossibly light, together with dragon skin and other humble components, that run from the skylight to the floor in a signature display of poetic simplicity and a celebratory sense of joy in the materials that form part of our everyday.


“Stop, eyes closed to feel the flood of matter through the spread of open fingers, as the material world spills into new formation.”




## Tour ### Description ### Title tour.name = Project Atrium - Maud Cotter