Cobi Cockburn (NSW) – 2020 Finalist

Murmuration (Light), 2019
glass
1150 x 1150 x 40
Photo: Greg Piper

Established Artist Category

The practice of glass artist Cobi Cockburn is dedicated to the continual refinement of self-expression and understanding. Cockburn explores ideas of space and illusionistic depth, through playing opacity against transparency and using traditional techniques in appropriated and contemporary ways. She creates floating glass panels, which perform as minimal interventions and windows into other spaces. Her reference to the physical landscape is always apparent, however she often refers to areas of abstraction as a metaphor to define the essential relationship between self and space. Choosing glass as her primary material, she has formed a relationship with the medium over the past 20 years, which continues to evolve. To Cockburn, glass offers a unique language; embodying both a 2D and 3D presence, acting as a portal into an otherwise unreachable plane, a place of personal meaning, accessible to, yet unchangeable by others. Cockburn is a graduate of Sydney College of the Arts, obtaining a Bachelor of Visual Arts (2000) and a Master of Fine Arts (2016). She is also a graduate of the Glass Workshop with a Bachelor of Visual Arts (Hons) (2006) from the Australian National University School of Art & Design, Canberra. She received the Tom Malone Prize in 2015 and 2009 and the Ranamok Glass Prize in 2006. Cockburn’s work has been published in New Glass  Review; art ltd.; American Craft; and Craft  Arts International. Her works are held in international collections including the Palm Springs Art Museum and the Corning Museum of Glass, New York. Cockburn is currently based in Kiama, New South Wales.

Cobi Cockburn is represented by Sabbia Gallery, Sydney.

Murmuration (light) explores the silence in synchronicity and the beauty of unspoken energy. Highlighting the potential of colour and abstraction as stimulative devices to spur emotion beyond the constraints of reality, I delve into the intertwined relationships of art, geometry and spirituality. Both defined and balanced the underlying grid pattern represents a matrix of material and immaterial elements – a blending of the physical and spiritual that equalises feeling. There is no higher or lower ground. Its energy is uniform and woven together, generating a vibration of matter – a metaphor for human psychology and understanding. Through compositions of soft colours and layered lines, I explore this intricate construct of innate feelings and timeless motion that references a form of silent faith for the artist.”