Craig Kerrecoe (b. )


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2012

Jul ‘CAMBRIDGE OPEN STUDIOS
Feb-Mar ‘PEEL THE BARK FROM THE TREE’
Solo exhibition of new work at Frameworks Gallery in Cottenham, Cambridgeshire.
Jan-July ‘CONTEMPORARY ART EXHIBITION AT CASS BUSINESS SCHOOL’
5 paintings featured in a long running exhibition of contemporary art at the Cass Business School, City University, London.

2011

Dec ‘ART AT THE MANOR HOUSE’
A special, fund-raising art exhibition event featuring more than 20 Artists, Photographers & Sculptors at The Manor House in Cambourne, Cambridgeshire, in aid of the The Wildlife Trusts.
Sept-Oct ‘NEWCASTLE GATESHEAD ART FAIR’
Featured on the Siott Gallery Stand at The Sage Gateshead, Gateshead Quays, Tyne & Wear
Jul ‘CHARITY ART AUCTION FOR CAM MIND’
Donated work to a special one night only art event at Haddenham Galleries, Haddenham, Cambridgeshire.
Jul-Aug ‘SUMMER ABSTRACTS’
Group exhibition of Artists at Frameworks Gallery in Cottenham, Cambridgeshire.
Jul ‘CAMBRIDGE OPEN STUDIOS’
Apr-Jul GALLERY EXHIBITION
Selection of new paintings at Frameworks Gallery in Cottenham, Cambridgeshire.
May ‘CAMBOURNE ART EXHIBITION FOR E.A.C.H.’
A special fund-raising, one-night only art exhibition event in Cambourne, Cambridgeshire.
Jan-Mar ‘WINTER EXHIBITION’
Group exhibition of paintings by British Artists at Needhams Restaurant & Art Gallery, Witchford, Cambridgeshire.

2010

Oct-Nov ‘A BOOK ABOUT DEATH’
Large collection of postcard art based on the theme of death, exhibited at the SAL Art Gallery in Long Island University, Brookville, New York and then held as part of the Ray Johnson permanent collection thereafter.
Jul ‘CAMBRIDGE OPEN STUDIOS’
Jun ‘IT’S YOURS, TAKE IT!’
One day special exhibition at a secret location in Peterborough, featuring a large collection of international artists.
May ‘CAMBRIDGE ART FOR AUTISM EXHIBITION’
A one-night, invitation-only, fundraising art exhibition event held at The Tunmer Studios, Cambridge.
Apr-May ‘A BOOK ABOUT DEATH’
Large collection of postcard art based on the theme of death, exhibited at the Museum of Modern Art (Wales) and then held as part of the museum’s collection thereafter.
Jan-Feb GALLERY EXHIBITION
Large selection of work exhibited at IceTwice Gallery in Olney, Buckinghamshire.

2009

Oct-Nov ‘COMPENDIUM’
Group exhibition of contemporary artists at Courtyard Arts Centre in Hertford, Hertfordshire.
Sep-Dec GALLERY EXHIBITION
Large selection of work exhibited at IceTwice Gallery in Olney, Buckinghamshire.
Aug ‘THE OLD PALACE ART EXHIBITION’
Group exhibition of contemporary artists at The Long Gallery, Old Palace, Ely, Cambridgeshire.
Aug ‘PETERBOROUGH YOUNG CARERS CHARITY ART EXHIBITION’
Three pieces donated to the charity art exhibition in aid of Peterborough Young Carers Project at Key Theatre, Peterborough.
Jun ‘AN AGE OF MIRACLES’
Group exhibition of contemporary artists at The Brick Lane Gallery, Brick Lane, London E1.
Jun ‘CAMBRIDGE ART FAIR’
Featured on the Art Addict stand (D2) at Chilford Hall Vineyard, Linton, Cambridgeshire.
Jun-Jul ‘PETERBOROUGH YOUNG CARERS CHARITY ART EXHIBITION’
Three pieces donated to the charity art exhibition in aid of Peterborough Young Carers Project at Coca Cola Business Services Centre, Peterborough.
Apr ‘NEEDHAMS OPEN ART COMPETITION 2009’
One of the judges for the first ever Needhams Open at Needhams Restaurant & Art Gallery, Witchford, Ely, Cambridgeshire.
Jan-Mar ‘GREY & DISTANT ALLUSIONS’
Solo exhibition of abstract painting series at Needhams Restaurant & Art Gallery, Witchford, Ely, Cambridgeshire.

2008

Oct-Dec ‘GALLERY EXHIBITION’
Several pieces selected and shown at the new Alpha Art Gallery, Hamilton Place, Edinburgh.
Oct-Nov ‘AUTUMN EXHIBITION’
Group exhibition of paintings by British Artists at Needhams Restaurant & Art Gallery, Witchford, Cambridgeshire.
Oct ‘THE STREAMING FESTIVAL’
Craig’s short-film, ‘Within The Weave’ selected for three day broadcast at the international Streaming Festival in The Hague, Netherlands.
Jul-Sep ‘REALITY BITES’
A group exhibition of abstract paintings at Needhams Restaurant & Art Gallery, Witchford, Cambridgeshire.
Jun-Jul ‘SUMMER EXHIBITION’
A group exhibition of paintings at Needhams Restaurant & Art Gallery, Witchford, Cambridgeshire.
May-Aug ‘GALLERY EXHIBITION’
Several pieces selected and shown at The Globe Gallery, Church Street, Weybridge, Surrey.
May ‘HERTFORDSHIRE ART FAIR 2008’
Shared stand with Kaine Kulczak at Artshed Gallery, Westmill Farm, Westmill Road, Ware, Hertfordshire.
Apr-May ‘A SERIES OF LINES’
A joint, multi media exhibition of abstract paintings with the East Sussex based Artist Esther Appleyard BA (Hons) at Worcester City Museum & Art Gallery.
Feb-Mar ‘REALITY BITES’
A group exhibition of abstract paintings at The Carpenters Arms, Great Wilbraham, Cambridge.

2007

Oct-Nov ‘CANTERBURY FESTIVAL ART FAIR’
Exhibition of works by selected British Artists at University College For Creative Arts, New Dover Road, Canterbury.
Sep ‘DIFFERENT JOURNEYS EXHIBITION’
Two pieces donated to the CAN organised project exhibition at University of Northampton, St. George’s Avenue, Northampton.
Aug ‘WHITE NOISE’
Selected by Atelier East to present a solo exhibition of ‘The Code’ series at Angles Theatre, Wisbech, Cambridgeshire.
Jul-Aug ‘VARIETY’
Selected by The Definite Article to feature in the group exhibition at Corn Exchange, Mark Street, Bank, London EC3R.
Jul ‘ATELIER EAST SUMMER EXHIBITION’
Selected by Atelier East to feature in the summer group exhibition at Angles Theatre, Wisbech, Cambridgeshire.
Jun ‘ARTSHED JUNE EXHIBITION’
Selected to feature in the June group exhibition at Artshed Gallery, Westmill Farm, Westmill Road, Ware, Hertfordshire.
May-Jul ‘A SERIES OF LINES’
A joint exhibition of abstract paintings with the East Sussex based Artist Esther Appleyard BA (Hons) at Three Cups Gallery, Three Cups Walk, Ely, Cambridgeshire.
May ‘NEWCASTLE GATESHEAD ART FAIR’
Featured On The Definite Article Stand at Mill Road, Gateshead Quays, Tyne & Wear.
May ‘HERTFORDSHIRE OPEN ART COMPETITION’
Selected to feature in the exhibition at Artshed Gallery, Westmill Farm, Westmill Road, Ware, Hertfordshire.
Mar ‘ISLINGTON CONTEMPORARY ART & DESIGN FAIR 2007’
Works displayed on The Definite Article stand at Candid Arts, Torrens St, London EC1V.

2006

Dec ‘THE GREAT ART CHRISTMAS FAIR’
Works displayed on The Definite Article stand at Alexandra Palace, London.
Nov ‘EDINBURGH ART FAIR’
Works displayed on The Definite Article stand at Edinburgh Corn Exchange, Newmarket Road, Edinburgh.
Oct-Dec ‘THE NEEDHAMS CHRISTMAS ART EXHIBITION’
Group exhibition of affordable art at Needhams Restaurant & Art Gallery, Witchford, Cambridgeshire.
Oct ‘ISLINGTON CONTEMPORARY ART & DESIGN FAIR’
Works displayed on The Definite Article stand at Candid Arts, Torrens St, London EC1V.
Sep-Oct ‘FACE VALUE’
Group exhibition of figurative art & portraiture by British Artists at Blackfriars Arts Centre, Boston, Lincolnshire.
Jul ‘ANGLIAN CONTEMPORARY ART FAIR’
Works displayed on the Ovenden Contemporary stand at Wheat Barn, Cressing Temple Barns, Nr. Braintree, Essex.
May-Jun ‘AS YET UNTITLED’
Group exhibition of paintings by new & emerging British artists at Blackfriars Arts Centre, Boston, Lincolnshire.
May ‘YORK FREEDOM AUCTION’
‘Listen’ donated to the charity event and auction and sold in aid of CAMFED at Bishopthorpe Palace in Bishopthorpe, Yorkshire.
Feb-Mar ‘SAME WORLD, DIFFERENT DAY’
Solo exhibition of semi-abstract landscape painting series at Blackfriars Art Centre, Boston, Lincolnshire.
Jan-Mar ‘INTRO: 1/2006’
Group exhibition of paintings by six emerging British artists at Needhams Restaurant & Art Gallery, Witchford, Ely, Cambridgeshire.

2005

Nov ‘6TH SOUTH HOLLAND OPEN ARTS EXHIBITION & COMPETITION’
‘Dance With Me’ from ‘The Code’ series was selected to feature as a finalist in the exhibition at South Holland Centre, Spalding, Lincolnshire.
Oct-Dec ‘THE CODE’
Solo exhibition of abstract painting series at Needhams Restaurant & Art Gallery, Witchford, Ely, Cambridgeshire.
Oct ‘COMPENDIUM’
Solo one-night multi-media exhibition at Needhams Restaurant & Art Gallery, Witchford, Ely, Cambridgeshire.

1998
Completed ‘Spectator’ mural at J.D. Young’s Sports Bar, Camden Town, London NW1 2JU.


  • 245 AM

    245 AM Mixed media on canvas 24 x 30 Inches For Sale The Code My painting work relies heavily on an abstract colourist style with an emphasis on wet-on-wet mark making. I use ordinary paint scrapers and palette knives, or occasionally my fingers, to apply acrylics, metallic and, sometimes, textured emulsion paints.

    My work is concerned with, or perhaps more accurately, inspired by my consideration of the essence of identity, or ‘free-will’ verses pre-destination. I particularly enjoy forcing reactions between oil-based paints and water-based acrylics or emulsions: the unpredictable patterns created, as one paint is repelled by another, are an important element of the visualisation of these two ‘opposing’ forces.

    I use colour, principally, as a way of abstractly studying and understanding my actions, reactions and interactions with those around me. Pursuing a relatively simple ‘flesh against machine’ metaphor I scrape paint onto each canvas, layer after layer, as if removing these layers from my own ‘self’. I then scrape the paint off the canvas again in the hope that this removal process will somehow ‘reveal’ the true identity that lies beneath. Whether this true identity is genetically composed or spiritually based is probably less important than the expectation that, once free, it will be unencumbered by the weight of a lifetime of experience and assumption.

  • Over Exposed

    Over Exposed Mixed media on canvas 12 x 12 Inches For Sale The Code My painting work relies heavily on an abstract colourist style with an emphasis on wet-on-wet mark making. I use ordinary paint scrapers and palette knives, or occasionally my fingers, to apply acrylics, metallic and, sometimes, textured emulsion paints.

    My work is concerned with, or perhaps more accurately, inspired by my consideration of the essence of identity, or ‘free-will’ verses pre-destination. I particularly enjoy forcing reactions between oil-based paints and water-based acrylics or emulsions: the unpredictable patterns created, as one paint is repelled by another, are an important element of the visualisation of these two ‘opposing’ forces.

    I use colour, principally, as a way of abstractly studying and understanding my actions, reactions and interactions with those around me. Pursuing a relatively simple ‘flesh against machine’ metaphor I scrape paint onto each canvas, layer after layer, as if removing these layers from my own ‘self’. I then scrape the paint off the canvas again in the hope that this removal process will somehow ‘reveal’ the true identity that lies beneath. Whether this true identity is genetically composed or spiritually based is probably less important than the expectation that, once free, it will be unencumbered by the weight of a lifetime of experience and assumption.

  • Part of Something Bigger

    Part of Something Bigger Mixed media on canvas 40 x 60 Inches For Sale The Code My painting work relies heavily on an abstract colourist style with an emphasis on wet-on-wet mark making. I use ordinary paint scrapers and palette knives, or occasionally my fingers, to apply acrylics, metallic and, sometimes, textured emulsion paints.

    My work is concerned with, or perhaps more accurately, inspired by my consideration of the essence of identity, or ‘free-will’ verses pre-destination. I particularly enjoy forcing reactions between oil-based paints and water-based acrylics or emulsions: the unpredictable patterns created, as one paint is repelled by another, are an important element of the visualisation of these two ‘opposing’ forces.

    I use colour, principally, as a way of abstractly studying and understanding my actions, reactions and interactions with those around me. Pursuing a relatively simple ‘flesh against machine’ metaphor I scrape paint onto each canvas, layer after layer, as if removing these layers from my own ‘self’. I then scrape the paint off the canvas again in the hope that this removal process will somehow ‘reveal’ the true identity that lies beneath. Whether this true identity is genetically composed or spiritually based is probably less important than the expectation that, once free, it will be unencumbered by the weight of a lifetime of experience and assumption.

  • Peel the Bark From the Tree 4

    Peel the Bark From the Tree 4 Mixed media on canvas 30 x 30 Inches For Sale Peel the Bark From the Tree My painting work relies heavily on an abstract colourist style with an emphasis on wet-on-wet mark making. I use ordinary paint scrapers and palette knives, or occasionally my fingers, to apply acrylics, metallic and, sometimes, textured emulsion paints.

    My work is concerned with, or perhaps more accurately, inspired by my consideration of the essence of identity, or ‘free-will’ verses pre-destination. I particularly enjoy forcing reactions between oil-based paints and water-based acrylics or emulsions: the unpredictable patterns created, as one paint is repelled by another, are an important element of the visualisation of these two ‘opposing’ forces.

    I use colour, principally, as a way of abstractly studying and understanding my actions, reactions and interactions with those around me. Pursuing a relatively simple ‘flesh against machine’ metaphor I scrape paint onto each canvas, layer after layer, as if removing these layers from my own ‘self’. I then scrape the paint off the canvas again in the hope that this removal process will somehow ‘reveal’ the true identity that lies beneath. Whether this true identity is genetically composed or spiritually based is probably less important than the expectation that, once free, it will be unencumbered by the weight of a lifetime of experience and assumption.

  • Peel the Bark From the Tree 5

    Peel the Bark From the Tree 5 Mixed media on canvas 30 x 30 Inches For Sale Peel the Bark From the Tree My painting work relies heavily on an abstract colourist style with an emphasis on wet-on-wet mark making. I use ordinary paint scrapers and palette knives, or occasionally my fingers, to apply acrylics, metallic and, sometimes, textured emulsion paints.

    My work is concerned with, or perhaps more accurately, inspired by my consideration of the essence of identity, or ‘free-will’ verses pre-destination. I particularly enjoy forcing reactions between oil-based paints and water-based acrylics or emulsions: the unpredictable patterns created, as one paint is repelled by another, are an important element of the visualisation of these two ‘opposing’ forces.

    I use colour, principally, as a way of abstractly studying and understanding my actions, reactions and interactions with those around me. Pursuing a relatively simple ‘flesh against machine’ metaphor I scrape paint onto each canvas, layer after layer, as if removing these layers from my own ‘self’. I then scrape the paint off the canvas again in the hope that this removal process will somehow ‘reveal’ the true identity that lies beneath. Whether this true identity is genetically composed or spiritually based is probably less important than the expectation that, once free, it will be unencumbered by the weight of a lifetime of experience and assumption.

  • Try to Scream But it Only Comes Out a Whisper

    Try to Scream But it Only Comes Out a Whisper Mixed media on canvas 30 x 40 Inches For Sale The Code My painting work relies heavily on an abstract colourist style with an emphasis on wet-on-wet mark making. I use ordinary paint scrapers and palette knives, or occasionally my fingers, to apply acrylics, metallic and, sometimes, textured emulsion paints.

    My work is concerned with, or perhaps more accurately, inspired by my consideration of the essence of identity, or ‘free-will’ verses pre-destination. I particularly enjoy forcing reactions between oil-based paints and water-based acrylics or emulsions: the unpredictable patterns created, as one paint is repelled by another, are an important element of the visualisation of these two ‘opposing’ forces.

    I use colour, principally, as a way of abstractly studying and understanding my actions, reactions and interactions with those around me. Pursuing a relatively simple ‘flesh against machine’ metaphor I scrape paint onto each canvas, layer after layer, as if removing these layers from my own ‘self’. I then scrape the paint off the canvas again in the hope that this removal process will somehow ‘reveal’ the true identity that lies beneath. Whether this true identity is genetically composed or spiritually based is probably less important than the expectation that, once free, it will be unencumbered by the weight of a lifetime of experience and assumption.