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Based in Cumbria, UK, acclaimed artist Daniel Cooper responds with highly emotional expressions to the sublime weather in the Lake District National Park and Cumbrian landscape, home to arguably some of the most beautiful views in England. Using charcoal and mixed media, Cooper observes reality imaginatively, and aims to communicate the ever changing moods of the land and skies through personal involvement with the landscape.
Today, Daniel Cooper has gained a significant national and international reputation for being one of the prominent landscape artists living and working in Cumbria. With work represented in galleries across The Lake District - a recently acquired UNESCO World Heritage Site and much loved destination from visitors all over the world, it has seen his art travel to private and commercial collections across the globe. His work has also been recognised and collected by popular celebrities across the UK and USA.
b. 1985 Shropshire, England, UK
BA (Hons) Fine Art
Lives and works in Cumbria, England, UK
Tel: +44 (0)7770 27 37 88
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See original art and prints by Daniel Cooper
Cook House Gallery
Original art and prints by Daniel Cooper
Cook House Gallery – AMBLESIDE
Church Street, Ambleside, Cumbria LA22 0BU
Tel: 015394 33861
Cook House Gallery – WINDERMERE
17 Crescent Road, Windermere, Cumbria LA23 1EA
Tel: 015394 48009
Cook House Gallery – KESWICK
30 Lake Road, Keswick, Cumbria CA12 5DQ
Tel: 017687 71100
Cook House Gallery – COOK HOUSE CRAFTS
4 Grosvenor Terrace, Bowness-on-Windermere, Cumbria LA23 3BS
Tel: 015394 22521
Lakes Art Gallery
Original art and prints by Daniel Cooper
Broadgate, Grasmere, Cumbria LA22 9TA
Tel. 01539 435271 or 07748050563
Cartmel Ground Gallery
Original art and prints by Daniel Cooper
17 Cavendish St, Cartmel, Grange-over-Sands, Cumbria LA11 6QA
Tel. 07958 531213
TPFramework Crafts & Gifts
Limited edition prints by Daniel Cooper
9 King Street, Ulverston, Cumbria LA12 7DZ
Tel. 01229 343214
Daniel Cooper Art
Business Innovation Award
JMW Turner and Cooper
Also running at this time was ‘Incandescence - Turner in Venice’, a special retrospective exhibition of works by the celebrated English painter JMW Turner...
"It will probably remain the highlight of my career as an artist, to show my work concurrently and under the same roof as Turner. My exhibition was my third solo at Brantwood, and it hosted at the perfect time, with company that I, and many others, consider to be one of the greatest artists that ever lived."
CFBA and The Hairy Bikers
In 2017, Cooper himself was featured on the local TV channel 'That's Cumbria' for a special interview about his solo exhibition held at his home. In conjunction with ‘C-Art’ - a county-wide art trail organised by Eden Arts, artists are given the opportunity to open their studios, homes or outdoor work spaces for the public to visit. Cooper, the only artist participating in his region of Cumbria, talked about his new work and his experience of hosting his work in his own home.
Dome House commission and collection
Daniel Cooper produces work on his own, sometimes to music or sometimes in silence. Due to his secretive methods and use of materials, he does not do any workshops or classes, saying that "I believe the process itself - the creative act, ought to be kept private, and carried out without distractions, so one can concentrate solely on the picture."
From canvas to conversation...
The creative process of Daniel Cooper
Since his first sketches in charcoal, Cooper's work has been constantly changing through new explorations of his subject and experimentation of media, but his style and working practice has remained personal, progressive and well recognised. Cooper continues to use charcoal burnt on the Brantwood Estate, the former Home of John Ruskin and today it remains a public attraction for visitors each year. For Cooper, Brantwood, in particular the views from the estate, brought about the foundations of his working practice today:
"It wouldn't be an exaggeration to say my professional career as an artist began around the time that I started working at Brantwood. I've been drawing for as long as I can remember, and all the while knowing the creative process makes me feel like I have another, and richer way to communicate with others. Brantwood, together with an understanding of Ruskin's fundamental teachings on observation and application, set me on an emotional attachment to the views in and around this part of Coniston Water, including the ever-changing weather and skies above. Whether out on the grounds in the elements or peering through the main house window, I put in charcoal and mixed media what I felt I saw - for myself and to be seen by others."
“Sunshine is delicious, rain is refreshing, wind braces us up, snow is exhilarating; there is really no such thing as bad weather, only different kinds of good weather.”
- John Ruskin (1819 - 1900) Victorian writer and critic
The Lake District, Cumbria
The place where Cooper often describes as his "true home" and, when it comes to his work, his "stage" from which the natural architecture within a vista, like the fells, trees and stones, are not just a beautiful sight to see:
"I see the land as a space to contain a composition, a composition that ultimately describes an emotional response to what I’m looking at. It is the intangible elements of nature; weather, light and cloud that fuels my imagination when communicating visually."
Charcoal and mixed media
Charcoal has become a firm favourite material for Cooper, often using charcoal burnt on the Brantwood estate, or compressed charcoal, and working with different intensities of blackness. Cooper describes his fondness as "like there's a literal element of earth fed into the drawing and painting, this for me is another way I find myself connecting to a place."
Mixed media, an almost standard description of materials used by artists, and Cooper describes his use of it as: "a combination of wet and dry media which I mix and handle myself, and since they form a part of my experimentation - I keep all material used, and application techniques, a secret".
Sketching and Process
Cooper produces many on-site sketches and drawings of his subject. getting involved with place and the surrounding landscape, rain or shine, is of great importance to the artist. The constant change in direction of light and cloud is also documented via photography, capturing moments of inspiration that eventually feeds into his own visual interpretation of place.
"I aim to capture the essence of a place and a feeling or mood, over and over again, there is never one representation of how a view makes me feel. Whether I gather information in the form of a physical piece or digital means, that item could provide me with copious amounts of ideas to work with, together with what I can remember from a particular sunset for example, I express how I feel."
Each picture is given its own unique title, apart from those which may belong in a series, such as "Summit of the Sky" - these are usually followed by a number to identify each one. For the bulk of his work, Cooper adopts a more creative approach with words:
"The work should speak for itself, and whatever feeling someone gets from it, is unique to them. I think the titles, are more for myself, my written input into how I describe the finished piece. They sometimes reflect and represent ideas and imagery I've had on my mind throughout the process of making a piece. It's also impossible to ignore inspiration from life and people around me, lines or words from poetry, music, literature or even feeling like I just want to make a word up! - All these can feed into the title of a picture,"
Cooper works mostly on paper and canvas. The dimensions of framed original art vary, but he would often attempt to work on certain sizes of the square, rectangle or panoramic format, explaining that: "To reflect the visual narrative of a collection of works hanging together, I like to have works, especially in solo exhibitions appear to 'flow' smoothly on the eye, and with similar presentation and sizes of art works, the collection communicates ‘as one’ in a given space."
As well as a simple, but clean black frame to keep focus on the art, Cooper mostly uses a hand finished "exclusive to his work" molding, made from lime wood. The frame is hand painted, normally with a dark, warm brown and satin finish. Mounting and backing board used are all acid-free and of conservation quality.