Dockers & Dolls Exhibition
'Dockers & Dolls' Exhibition ran from 1st July 2024 for 13 weeks in the Andrews Gallery, Titanic Belfast, following the tremendous success of our exhibition 'Exodus' in 2023. This year's exhibition, themed "Darkness Into Light", was an even more immersive experience, featuring six interactive "Life Stories" that revealed the personal journeys behind customers purchasing their chosen pieces. This year's Bradley Art Prize finalists also had their work displayed. The exhibition not only showcased remarkable art but also deepened the connection between the art and its audience, offering a unique and engaging narrative experience.
From Darkness into Light: The Transformative Power of Art in Mental Health
The journey from darkness into light is a profound metaphor for the mental health struggles many face. For artist Terry Bradley, this journey began in the depths of despair and isolation. However, through the transformative power of art, he found a path to healing and self-discovery. Art became his beacon, guiding him into self-awareness and emotional resilience.
Ultimately, Bradley's journey from darkness into light through art showcases the power of human creativity and resilience. Art provides a safe space to explore and heal from past traumas, celebrating the emergence of a stronger, more vibrant self. Through art, the transformation from darkness into light becomes a beautiful, transformative reality.
“It is an honour to return to Titanic Belfast, with a brand new exhibition to celebrate my work. For me, 'Dockers & Dolls - The Art of Terry Bradley', is a very personal and reflective exhibition, as it shows how introducing colour into artwork signifies a shift in my mental health. The transformation from monochrome to a full spectrum of colour is not just aesthetic, it is deeply symbolic. It represents the gradual reawakening of senses, the rediscovery of joy, and the acceptance of the self in all its complexity. I can think of nowhere better than Titanic Belfast, the heart of Belfast’s rich maritime history where I have taken so much inspiration from, for me to share my own personal story.”
~ Terry Bradley
Featured Artwork
(A-Z)
On display at the 'Dockers & Dolls' Exhibition, Titanic Belfast.
'Courage'
2023
This striking drawing of a woman staring straight out of the picture has aptly been named ‘Courage' by Terry to demonstrate how he would like to look at the world, head on. Terry often uses the image of a woman to disguise and convey his own feelings. The colour, shape and words are all important and it is significant that he has chosen to use charcoal and write the word ‘Courage’ on this picture as a title, rather than incorporate it as a tattoo. This choice makes the whole piece a statement, it’s who she is and what she represents. Her tear-stained eyes but defiant look, let us know that it has taken courage for her to get to this point while the use of black and white show she is still in a vulnerable position. It will take courage for her to keep going, but this is not in question, she has no tattoos, no adornments in her hair, no distractions to what she must do and what she has to be. She is courage personified.
'Desire'
2023
With a thrown back head and dishevelled hair, this picture symbolises ‘Desire’. While the model’s closed eyes, sweeping lashes and full lips all suggest passion and self-abandon. However, there are warnings all around this image. The heavy black lines don’t offer any relief, and the black background is lurking at the edges of the picture, ready to engulf her while the multiple swirling birds suggest a sinister edge. Bradley uses these dark images and especially the dark birds to symbolism his own anxiety and depression. ‘Desire’ takes on a darker meaning, beauty combined with abandonment can be a dangerous mix, shadows begin to overtake our sitter and with closed eyes she seems totally unaware of the danger around her.
'Docker IV'
2023
Bradley often paints and draws studies of the strong, working-class man of the Belfast streets and shipyard. These men are aspirational figures for Terry - direct, honest and trustworthy. He often paints these dockers with the traditional ‘Paddy Caps’ as they were ubiquitous amongst the working men of Belfast. These caps shade their eyes and give them something to hide their true feelings behind. It was not an option to be anything other than tough and strong in this world and the raised coat collar and pulled down cap act as both a defence and disguise in this tough and dangerous world.
'Docker VI'
2024
Another study from Bradley’s Docker series, this character again has the pulled down ‘Paddy Cap’ and shaded eyes. This character tells us his own story though. With his lived-in and lined face, we know that his life has not been easy. His nicked ear also suggests a violent past. Fights in the shipyard could break out at any time, sometimes at the start of the day when the foreman would go down and select casual workers to fill empty shifts. Competition for these shifts could be fierce and fights often broke out with men desperate for work. The docker’s pint of Guiness also adds to his story. Life after work often revolved around the many bars and working men’s clubs in the surrounding streets. Again, these could be violent and dangerous places, all part of the world that these men and women lived in.
'Enough'
2023
This painting is from a series that Terry painted on hard board during the last part of lockdown. He had limited resources as his normal canvas maker had stopped supplying him due to restrictions in imports. The word ‘Enough’ embodies a whole range of emotions from this time. The most obvious is that Terry had had enough of lockdown and all that it brought for many who struggle with their mental health. Terry, like many, found the lockdown very hard. His normal forms of escapism like driving and riding his motorbike were restricted and he found being confined to one place with all his family unit to be very challenging.
'Family'
2023
'Family' is a very personal piece to Terry Bradley. He often uses a female character as a way of masking a self-portrait, especially when it alludes to his most personal and intimate thoughts. This woman is groomed and beautiful, her make up is flawless and she is ready to face the world with her rings and earrings in place. However, she has also been crying, with streaked mascara running down her cheeks. In this drawing, the model is thoughtful and looking down and back in time. Terry grew up in Belfast in the height of the Troubles and was very much kept at home and sheltered by his mother. The youngest of four children, his mother kept him at home and away from social situations as part of her own shyness, and he grew up drawing and dreaming in his room. The other tattoos also have significance, ‘Life’, ‘Breathe’, and ‘Hope’ are all words he associates with his past and family upbringing.
'Forever Family'
2019
Drawing on support from family and referencing the mixed relationship Terry has with his own family, the drama masks appear to depict the highs and lows of those in intense relationships. The image was created around the time of his eldest son leaving home to travel and work overseas. The no. 65 refers to the year Bradley was born and often appears in his paintings.
'Ghost of the Past'
2023
Based on the original Bradley painting titled ‘Exodus’, this ethereal and ghostly version portrays the gaps left behind by the men and women who emigrated from Ireland. The history of the Irish Exodus is legendary, and Bradley’s painting was created to honour those who left Ireland to start a new life in a different country.
'Honour and Hope'
2007
One of Bradleys most recognisable dockers, 'Honour and Hope' captures Terry’s visions for both himself and the men of Belfast that he so often paints. He wants this message to ring true - a reflection of his own ideals and aspirations, as well as what he hopes for in others. ‘Honour’ has long been a guiding word in his life, along with ‘Trust’, ‘Faith’, ‘Courage’, ‘Love’, and ‘Hope’. These words both inspire and guide his daily thoughts and actions, and he often writes them on his paintings to give them added strength and power. This painting is influenced by Russian propaganda posters of the 1920’s - a call to manhood and high ideals, from a time when a man’s word was his bond and he stood tall and unshakable in his own beliefs of right and wrong.
'Hope' (Man)
2017
This black and white study of a sailor features the many tattoos that the men collected on their travels as they went from port to port. The broken nose and nicked ear indicate that he has had a fight, and he is watching the viewer suspiciously. His tattoo indicates the message of ‘Hope’, an often-used reference in Bradley’s paintings and drawings.
'Hurt'
2019
The painting ‘Hurt’ perfectly sums up the juxtaposition between the face we present to the world and the reality within. The bright colours and delicate flower arrangements contrast with the woman’s inner pain. The theatre mask earring reminds us of the themes of tragedy and comedy while also reinforcing the idea that what you see on the surface is not always how someone is feeling inside. The woman’s closed eyes are blocking out the brightness around her and allowing her to deal with her pain privately. The colourful yet distressed background serves as a background to her own life, seemingly bright, colourful and sunny at first glance but tarnished and patchy when examined more closely.
'Judgement'
2021
In ‘Judgement’, Terry Bradley explores the idea of the mask - not just as a physical shield, but as an emotional and psychological one. He speaks of how we all put on a mask each day, preparing ourselves to face the world’s expectations, judgments, and challenges. The face in this piece is marked with powerful words like ‘Justice’, ‘Trust’, and ‘Honour’, revealing the values we hold beneath the surface. There’s a deep tension between vulnerability and strength, chaos and control - a reminder that what we present to the world is often only a fragment of who we truly are. ‘Judgement’ captures that quiet resilience, the act of stepping forward with purpose, no matter what lies ahead.
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'Keep Walking'
2018
A classic Bradley docker piece. The subject has obviously been in a fight and has a cut above the eye. Terry wants to convey that they keep fighting even when they have been knocked down. One of the favourite sayings is ‘Never Give Up’, and ‘Keep Walking’ is along the same theme. Terry is saying that even if you’re knocked down and despite hardship and adversity you keep going.
'Love Lost'
2020
‘Love Lost’ shows us that feeling of loss and shock after we lose a love in our life. The background of the past was bright, colourful, sunny and full of hope and light. The reality of the present has been cast into shadow. We can no longer look ahead without fear and trepidation, peering out from between our fingers. ‘Love’, as the tattoo hand reminds us, is all we have left to protect and shield us. The raw unfinished piece gives a messy overall look, not quite pulled together. Her make up is beautiful but tearstained, she has everything, beauty, colour, intensity but now it is crumbling, messy and fearful.
'Man With Pipe'
2024
A beautifully painted study of a docker with his heavy ‘Ulster’ overcoat, Paddy cap and clay pipe. Men like these were the mainstay of Harland and Wolff in its heyday, walking along the cobbled streets of Belfast, working long hours, risking their lives to support their families and keep their jobs. They were proud men who rarely complained and kept themselves to themselves. Often men of few words, they had a strong moral conscience and suppressed whatever dreams and desires they had for the betterment of their families, their workmates and the next generation.
'Never Give Up' (Biker)
2022
The image of the ‘Never Give Up’ biker combines this image of a man who is overcoming his own obstacles and seeking solace in action. Terry feels that it is important for anyone struggling with anxiety and depression to keep busy and moving forward. For him this mostly involves painting and drawing but when he can, he also uses getting out on the bike as a form of relaxation. He finds the combination of movement and concentration helps him to 'Never Give Up'.
'No Regrets'
2019
This piece again uses yellow but this time the message is much stronger. The bright background, combined with the bold black lines, conveys a single message - ‘No Regrets’. There is no apology in either the colour choice or the meaning. The model’s hand to her chin suggests that her decision was carefully thought out, while her single tear tells us that, although the choices she faced were painful, they were the right ones. Her unflinching gaze is both calm and deliberate - she has thought long and hard, and she has ‘No Regrets’.
'Not Broken'
2022
A strong and confident woman stares at the viewer with determination and defiance. There are equal measures of light and dark, colour and shadow in her life - but she remains resolute. The chopped angles and disruptive brush strokes depict her scars and her heartbreaks. Dark birds still swirl around her, but she refuses to be distracted by them; they remain on the periphery of her vision. Her slicked back, no-nonsense hair, dramatic red lipstick and bold, powerful eyes challenge the viewer to doubt her - or her strength. She remains unbowed.
'Pain & Sorrow'
2020
'Pain and Sorrow' depicts a hardworking docker, reminiscent of the important industrial era in Belfast, where men laboured at the shipyards, working against the elements day in and day out. The docker’s rough appearance, with a scarred ear, broad, broken nose, and dark eyes, is a physical projection of the tough skin he has had to create. His hidden emotions, depicted in tattoo embellishments, represent past loves and the mask of bravery he presents to the outside world.
'Sacrifice'
2017
This picture represents unrelenting pain, hardship and suffering. The woman has done everything she can, and yet she is still crushed. Once again, Terry uses a female figure to convey deep emotion and vulnerability. The colours are strong and intense, yet dark and muted. Her hand covering her face suggests a final moment of despair - when the façade slips, and the daily sacrifice she has endured becomes too much to bear.
'Safe'
2018
Terry Bradley’s ‘Safe’ is a powerful piece that tells a story of strength and survival. The artwork shows a woman with her eyes closed, her face decorated with tattoos and flowers. The word ‘Safe’ is written across a heart, with a koi fish wrapped around it - a symbol of perseverance and determination. The black-and-white style, along with the splattered textures, gives the painting a raw and emotional feel. Bradley’s unique mix of realism and sketch-like lines makes the piece feel both soft and strong. ‘Safe’ is about finding protection and inner strength, even in difficult times.
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'Safe Place'
2017
Terry painted ‘Safe Place’ in 2017 to reflect the universal need for somewhere we can return to and feel most at home. Painted directly onto hard board, the natural colour palette simplifies the message and emotion of the piece. Using the warm tones of the wood, along with just black and white paint, Terry creates a soft, comforting atmosphere that invites us to relax. The calm expression and closed eyes of the figure encourage us to join her in a moment of restfulness. It’s a truly beautiful painting that captures how vulnerable we allow ourselves to be when we feel truly safe.
'Sailortown Belfast'
2022
This character is one that Terry returns to again and again. He often posts this image on his social media to signal that he is struggling with his own demons or feels particularly low. The solitary figure, walking alone in the cold against a dark sky with a full moon, represents his long nights of struggle - nights when he has to face himself and his mind alone.
'Sorrow' (Grey)
2023
A beautiful study of a woman who has her own struggles and sorrows to bear. The women who lived and worked around the shipyard and factories of Belfast in the late 1980’s had a hard and thankless task. They worked, bore children, supported their men folk, cooked and cleaned, often in harsh cramped conditions. These woman should never be forgotten or overshadowed, not just in the history of Belfast but in the collective history of all our pasts, which quite often overlooks the remarkable lives these women lived.
'Sorrow'
2020
‘Sorrow’ reminds us of the vulnerability of our pain. A woman looks over her shoulder, raised in self-protection, full of regret. There is hurt in her eyes; her softness and fear are written across her face. The pale-yellow palette reinforces her eternal quality, as she drifts out of the pale background with nothing solid to hold on to. Her sorrow lingers and hovers over her as she watches us pass by.
'Study I'
2022
The artwork piece ‘Study I’ shows the emotions of the subject very clearly as she looks down and not directly at you. Many of Bradley’s paintings are painted to explore the painter’s own thoughts and feelings. He often hides behind a female character as he finds this less exposing and invasive, allowing him to explore and paint his emotions without it being immediately obvious to the viewer that it is such a personal reflection of his own emotional state. Visitors to the Bradley Gallery are often drawn to a particular piece that perfectly reflects how they are feeling at the time.
'Such Is Life'
2024
This beautiful and evocative piece is layered in so many ways that it speaks to the viewer endlessly. The phrase ‘Such is Life’ sums up the woman’s cool appearance and all life’s ups and downs. She has accepted that there will be dark and light in everyone’s journey, that the dark bird of sorrow and pain will be countered with the equally light bird of hope and survival. Her look is accepting and serene. She has shed tears but is content that she is surviving with strength and intelligence and the starry night washes over her with an all knowing other worldly light. She has reached acceptance and in unafraid.
'Summer'
2024
‘Summer’ was painted in Malaga in early 2024. Over the past two decades Terry has been spending more and more time in Spain and now visits as often as he can. He finds that the anonymity of being away from Belfast helps him deal with his anxiety and depression and the pressure, perceived or otherwise, that he associates with his hometown. Being away helps him to become the voyeur he wants to be and enables him to sit and observe people without interruption. Summer reflects this relaxed and uncomplicated mood. The model herself is calm and unstressed. Her gaze is direct and honest, and although there are faint tear stains they are indistinct and not immediately obvious. The strong lines and bright colours are further evidence that this is Terry at his most confident. The lack of birds also sends a message, Terry is projecting who he is and can be when he can escape his past and immerse himself in a different world.
'The Kiss'
2021
‘The Kiss’ is used to show a powerful dynamic within a relationship. Relationships are very often at the core of our experiences of life, and we are moulded by how these relationships affect us. In this painting, the woman has her hand on the man’s face, depicting understanding, support, and love. It shows that behind this man is a woman who believes in him and strengthens him. If he had his hand on her face, it could be interpreted as controlling or violent and could create a different balance of power. The strength lies in her love. Both have their eyes closed, making their kiss a private moment, unaware of the world around them. His face, slightly in the foreground, evens out the dynamic so that her hand does not become domineering but a gentle, loving support.
'Wounds'
2022
One of Bradley’s most powerful recent works, this painting lays bare the raw emotion of life and those who suffer with their mental health. We all go through painful experiences, but some people are more damaged by these than others. Bradley has added to the original with this heavily hand embellished version to express more clearly the emotional pain he wants to convey. He is using this painting to show to the world how his rawness, despair and emotion are all right at the surface for him and for many others.