CV, Catalogue note, Artist Statement and Contact details


Cambridge University, Philosophy 

Wimbledon College of Art, University of the Arts London  

Work exhibited:

The Charleston Trust "Quentin Follies",   2006

Wimbledon Group Exhibition, "Feeding a little life", 2008 

Group Show at Deutche Postbank, Queen StreetLondon,   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

Group Show, "The Chaos of Memories", Tabernacle Gallery, January 2012

Group Show, Debut Contemporary Gallery, London March 2012

Shortlisted National Open Art Competition September 2012

The Other Art Fair, London  April 2013

Shortlisted Lynn Painter Stainers Painting Prize 2014

The Other Art Fair London April 2014

Group  Show "Individuals and Time" , Tabernacle Gallery, June 2015

Group Show "BEAT - Borough of Ealing Art Trail" September 2016 

Group Show Tablenacle Gallery London  April 2017

Solo Show Galerie aux Quatre Vents  Luberon France July 2017

Group show Galleri 15 Molinsgatan Gothenburg   December 2017

Group show Galerie aux Quatre Vents Luberon France August 2018



Work in the collections of  Landmark PLC, Dietrich Mateschitz



Commentary in Catalogue for "HangArt 7" exhibition 2010 on David Stockley's paintings: 

If it were not for the St Pancras in brackets next to the title, Untitled, we would ask ourselves where we had seen or experienced this inhospitable place ourselves. But St Pancras explains that there is obviously an occasion or a reference that has to do with the recently refurbished London international train terminus. But the spaces that Stockley creates resemble numerous versions of these "un-places" or "non-places" as the French anthropologist Marc Augé calls them, and he provides an important reference point for the artist.

In 2006 in the online magazine Telepolis, Jörg Auf dem Hövel, who also refers to Augé and to the somewhat earlier Georg Simmel, uses the example of the airport to describe these "non-places", where one cannot and does not want to linger and which have created "an antiseptic culture of monotony" - only constructed in order to be left again. And further: "Even if the shell plays with futuristic forms, the content is always the same: check-in counter, fast-food and perfumery chains, dull boarding zones with rows of seats. That is supposed to be like that, the ideal airport is organised around consistent guidance systems and unchanging offers, because everything is intended to fulfil the unchanging expectation of the visitor: I want to get out of here. Anything of more significance there is simply dysfunctional. Everyone is always on the way to a place that is more important than the present one. Airports are places of transit and to wait is to lose."

A further characteristic of this public space is the disappearance of the individual, the lack of confrontation and communication with others. David Stockley takes us to these places: to departure lounges, to buses, to nameless public squares and to railway station halls. The last of these, the pictures from this year, 2010, radiate an almost destructive atmosphere: people stand in vast, apparently still functional, usable spaces in which, however, the ground is covered with rubble and gravel. The few people who are staying here are not talking to one another, are not facing each other; each is looking in a different direction. Here and there powerful colours stand out in predominantly brown, grey and blue tones: above all green - the green of a pullover, a plant or a dress. Green as a last rebellion of nature and its light (in some flashing white places). Even if the colour palette is broader here and there, the predominant mood is of exhaustion, forlornness and loneliness.

David Stockley knows all these places of waiting, bridging and moving on very well. Since his early childhood he has been much travelled. His professional activity, which demanded being frequently on the move, has inscribed these experiences more deeply in his body and soul. Looking at the pictures, a great song, one I prefer in the cover version by Gary Jules rather than the 1982 original by Tears for Fears, suddenly comes to mind. Among other things it says: "All around me are familiar faces / Worn out places, worn out faces / Bright and early for their daily races/ Going nowhere, going nowhere." One could perhaps also call this series of pictures after this song: Mad World.


Artist Statement

Painting people can be quite an obsession. It affects me in that way. The individual in a public place is a theme that has been extensively explored in art. I think of Degas's "Au Café (l'Absinthe)" and Manet's "La Prune", Hopper's "Automat". Contemporary artists who are relevant to me in this way are Karin Mamma Anderssen, Michael Borremans and Hannah Starkey.  For me works by these artists can evoke their subject's awareness of the very fact of solitude, perhaps loneliness as well.... but maybe that's not the point (Hopper once said "the loneliness thing is overdone". And it is not the point in my practice. I am interested in how the fact of solitude can intersect with the awareness of how the events that can most affect the texture of our lives are accidental, random, have no assignable meaningful cause. I am thinking of, for example, the accident of whom we were born to, the first meeting with the person who becomes our partner, indeed the first meeting with those who become our closest friends.  These ideas have informed the process of my practice.

 So I am interested by paintings that deny apparent narratives to and whose process of construction captures the reality of chance.

Following this people in my paintings are often put together who were never together - people look away from each other when once they looked at each other. And places are explored where the mind sometimes finds itself in isolation: the classroom, the train, the platform, the cafe: the "Non places" that Marc Augé refers to in his book of that title.

About my process: as a result of the ideas above, my paintings take their starting points from images I have found or taken myself. They form the basis of drawings which explore what those images are about.

The drawings can be used as moving parts, jostling with each other for a place in the composition. I work with them as one might work with pieces of a collage. The images are often greyscale - the drawing monochrome. There is an adventure in injecting them with colour. And an excitement about how light may touch that colour. And the magic of how the colours will speak to each other. Images can be inverted, drawings transposed. What was one way, is now another. I work on three or four paintings at a time. Perhaps acrylic at the beginning, then oils - and pastels to test to test new colour ideas, glazes and scumbles can follow. Weeks pass between the start and the finish.


Many of my paintings have been sold and are in private collections in the UK, France, Austria and the USA. One of the paintings from my Degree show was selected by Landmark PLC (the sponsor of the show) to be part of its corporate collection. Seven works were chosen to be part of "The Secret of England's Greatness" exhibition in Salzburg The patron of this show was Dieter Mateschitz and four of those works now form part of his collection.








Images and other content on this website are copyright © of the artist. All content on this site (including images) is protected by international copyright laws. No content from this website may be reproduced in any manner without the prior written consent of the copyright holder.