Artist in residence. Stockmar & Wharton. 



Try to find the missing in what remains



Artists Philip Wharton and Dorothea Stockmar present a series of works in which each artist explores their unique personal perspective within the works of the other.


In an interactive exhibition with changing perspectives, they find access to different ways of looking at things. What previously appeared to be hidden is put in a lively light. What we are used to see can be seen anew in a different context.


1. Clouds of perspective


Image 1. Mannequin Maquette. By P. Wharton.


Image 2. Between Clouds. By D. Stockmar. 


When we look at something like art, what is it that we “believe” we are seeing? I say believe, because everything is a matter of perspective. A matter of opinion. A matter of light, time, and so on. All of these elements are in a constant state of flux. As are we. So, it’s no wonder that we can never truly see eye to eye, because we’re not all looking with the same mind. 

Take for example Dorothea Stockmar's  series of colourfully painted bras on canvas in which she uses them to convey an almost renaissance state. Some, like myself, instantly picked up on the sense of motherly Rebirth. Hope. Whilst others saw the bra as a proposed sense of something else. 


The latter sparked me to produce a contemporary, yet classicised little figure entitled Mannequin Maquette that is meant to lend itself as a platform for a broader insight on perspective.  Your perspective. Whereas Dorothea uses the bra as a symbol of hope and rebirth, Mannequin Maquette poses the opposite end of this spectrum by positioning the bra strap over the stomach like a gaping wound as metaphor for the loss of a child.


We gather narrative through familiar perspectives. And only through insight do we broaden those perspectives. Hope can come from so many unexpected places. New, and insightful perspectives are a good place to start. (Philip Wharton)


Mannequin Maquette. By P. Wharton.


Between Clouds. By D. Stockmar. 
Mixed media on canvas, 50 x 50 cm. 2012.



2. To commemorate Cajus 


Metamorphosis No. 31’ was a picture I have painted shortly before the sudden death of our son Cajus in 2008. It is one of a series of images that I have used to reflect on my work as a death and bereavement counsellor. The chosen metamorphosis was one of Cajus' favourites.


Sapling, on the other hand, was created by artist Philip Wharton as a gift to my husband and me and homage to Cajus, our sapling. This sculpture was also very well received at the University of St Andrews in Scotland and is on permanent display there.


Like ‘Metamorphosis 31’, I see "Sapling" as a symbol of transition. Without beginning. Without an end. And also as a sign of resurrection from grief. (Dorothea Stockmar)


Image 3.
Metamorphosis No. 31. By D. Stockmar.


Image 4. Sapling. By P. Wharton. 


Metamorphosis No. 31. By D. Stockmar
100cm x 20cm.Mixed media.2008.


Sapling. By P. Wharton. 
Medium/modelling clay/fibreglass/wood/


3. Shrine of Sorts


When Dorothea invited me to contribute towards her ‘Icons to share’ in 2020, (pizza-boxes) I glanced at a little resin angel of my mother’s and recalled her in hospital after having an heart attack. She so thoughtfully got out of bed to give this old lady opposite her one of these little resin keepsakes along with some gentle, kind words of hope. It’s strange how it’s often those with the least to give share the most. 


I was sparked to pair Dorothea's "Icon No.4" with my artwork "Shrine of Sorts" because it reminds me of the Madonna and child that my mother had always had on her windowsill along with a little resin angel.



When Dorothea first started painting Icons on pizza boxes she followed the questions What is sacred to us? What can be nourishing in times of crisis? This was in November 2020. Then I sent to her my pairing object “shrine of sorts” also from 2020.

For all to share. (Philip Wharton)


Image 6. Icon No.4. By D. Stockmar.


Image 7. Shrine of sorts. By P. Wharton. 


Icon No.4. By D. Stockmar.

Medium/pizza-box. 28cm x 28cm x 3cm. 2018.


Shrine of sorts. By P. Wharton. 

Medium/wood/glass/assemblage/sketches/text. W66cm/H52cm/D12cm




4. On Reflection


With the artwork (On Reflection. Menfra) from 2020/21, Philip Wharton allows us to participate in his inner exchange. Who are these figures? Where do they come from? What are they communicating? Do they have something to tell us? 

We don't know, and perhaps we're not supposed to know, but at the end the artist shares his thoughts on his sculptural ensemble with us.

"In order to understand yourself better through the world, you have to come to terms with your place in the world beyond your own desires. The universe is as big as the thinking within. So expand inwards. Express yourself through the arts. And be kind."


I follow Philip Wharton's invitation and, while searching for a suitable accompanying image, I came across an oil painting from 2021 which depicts figures which seem to be in a state of transition. What they think, what they feel remains locked in their bodies. However, from a larger, wider perspective, they appear embedded in an existence beyond space and time. 


The future is and remains uncertain, yet we create it with our words, thoughts and deeds. And if it becomes possible to remember a good future, then we will also make the present bearable. Let’s create a better future! (Dorothea Stockmar)


Image 8. On Reflection. By P. Wharton.


Image 7. Remembering the Future. By D. Stockmar.


Remembering the Future. By D. Stockmar.

Oil on canvas.80cm x 80cm. 2021.


On Reflection. By P. Wharton.

Medium/Fibreglass/plywood, Approximately

W56cm/H27cm/D21cm oil on canvas, 80x80cm.


5. Cross over between something Holy


In most cases Icons were drawn from an attitude of worship and respect. They were considered as symbols of protection and welfare. Worshiped as holy objects they made people believe in a divine power.

Inspired by the early atomic drawings by the English naturalist and teacher John Dalton, I formed my Atom’s Cruciform of partial elements that are symbolically composed. I chose this Icon as a pair to question knowledge and belief in challenging times. (Philip Wharton)




Image 9. Icon No. 3/6. By D. Stockmar.


Image 10. Atom’s cruciform. By P. Wharton. 


Icon No. 3/6. By D. Stockmar.
Media/pizza-box. 28 cm x 28cm x 3cm. 2018.


Atom’s cruciform. By P. Wharton. 

Medium/Wood/copper/resin/pewter/steelW30cm H76cm D30cm





6. Call for Eternity 


"We do not look at what can be seen, but at what cannot be seen; for what can be seen is transient, but what cannot be seen is eternal" quotes Philip Wharton from 2 Corinthians 4.18.


I wonder what this figure on the stairs is doing. What is it seeking? Is it searching at all or has it already reached the stage of ultimate realisation? And what is the insight like? How can we recognise, especially as we are constantly looking at what we cannot see?

For me, death, as it appears hidden in the picture "distorted", is a part of existence and without it there would be no life.

What would the picture look like without the black figure, which gives it contrast and a shift in perspective that cannot be overlooked?

Philip Wharton and I want to explore this shift in perspective as a team with our picture swap. Let's tackle it now. Eternity can wait. (Dorothea Stockmar)



Image 11. Distorted. By D. Stockmar.


Image 12. Hope's Last Call. By P. Wharton. 

Distorted. By D. Stockmar. 

60cm x 30cm. Mixed media on canvas. 2012.

Hope's Last Call. By P. Wharton. 

Medium/Fibreglass/plywood. Approximately/W64cm/H28cm/D64cm.




7. Wheel of Mourning 


As individuals, each one of us is unique – and accordingly, so are our strategies coping with crisis. From time to time we may discover solace in a piece of art.


What touches me most with the art of Philip Wharton is the fact that it is representing an unbelievable amount of hope. Hope which wants to be explored especially during times like these when our every-day-life seams to fall out of control. 


While some people feel displaced and unconnected to this world Philip finds help in expressing through art. While going with the flow Philip’s art breaks through the level of consciousness revealing trust and hope. “Having faith,” Philip mentioned, “isn’t always 24CT gold sunlight. Faith, and that of others is all we have. “ 


When I asked Philip what faith in hope means to him in terms of colour, shape and sound, I felt positively enlightened by what he said:


If hope had a colour, it would be white. 

If hope could be touched, it would be the raw material of my art.


If hope had a sound, it would be the sound of rustling leaves on a hot summer’s evening. 


Hope is the light around darkness waiting for us.

Published in: ‚The Wheel of Mourning / From Grief to Relief’ by Dorothea Stockmar

ISBN 978-3-940781-76-5 edition bodoni (2016)



Further links:

• ‘From Symbols of Grief to Symbols of Hope’ by Dorothea Stockmar



• ‘Bridge of Hope’ by Axel and Dorothea Stockmar




Image 13.
At the end of a long long journey. By D. Stockmar.


Image 14. Having Faith. By P. Wharton. 


At the end of a long long journey. By D. Stockmar. 

Mixed Media, 40x40cm, 2023.


Having Faith. By P. Wharton. 

Approximate dimensions/W55cm/H98cm/D30cm.

Solid glass fibre. Internal Steel rod supporting structure.




8. Light-filled Insight


Philip Wharton calls his light project ‘Holy Light/The Spirit we seek to illuminate’. 

It is a about a collection of numerous light objects that were moulded in a solid mixture of Portland cement and gravel chippings.

Everyone who is able to bring a light into the world, no matter how small, is doing something against the darkness in and around us. Whatever is brought to light, 

be it spiritual or trivial, it contributes to a change of perspective. 


How often have I wished for such a flash of inspiration, even if it was only in my thoughts and feelings? One such flash of inspiration came to me in the words of Benjamin Lee Whorf. When I was still at school, I studied his linguistic insights and swallowed his books.

Here is the translation of a quote that I transferred to the canvas of the painting 

‘Keep together’.


"We are constantly reading fictional makers into nature

just because our verbs have to have nouns in front of them."


This consideration by Benjamin Lee Whorf prompted me to look for other terms and integrate them into my bra-object ‘Keep together’.


Withhold, hold back, hold against, hold in, hold tight, hold on, hold fast, hold short, hold up, hold open, hold on, hold in, hold together.


Let’s hold together and search for a Bridge of Hope!

(Dorothea Stockmar)



Image 15. Keep together. By D. Stockmar.


Image 16. Sacrum lumen. By P. Wharton.


Keep together. By D. Stockmar.
60cm x 40cm. Mixed media on canvas. 2012.

Sacrum lumen. By P. Wharton. The spirit of which we seek to illuminate.

Medium/Portland cement slip and stone. Approximately/W14cm/D14cm/H11.5cm. 


9. Sacred Light 


Personally, the way in which sunlight catches Dorothea’s painting seems to bring out  something of a children’s bible illustration; easter and the nativity. 


And my cruciform  entitled  Pilgrim’s Relic comes to mind in as much as it also has an unintended sense of the nativity about it. And  also lends itself to light in a similar fashion. 


Image 17. By D. Stockmar.


Image 18 Atom's Cruciform. By P. Wharton.

Image 17. By D. Stockmar.

Atom's Cruciform. By P. Wharton.Medium/wood/copper/Hessian.W34cm/H70cm/D23cm