On his Bridge pictures, Cockrill states:

'The origination for much of my recent work is rooted partially in a kind of fascination for the nature of water, which began formally, most probably in the 'water' drawings and paintings for my 'Elements' series of 1998. An ongoing sub-theme is a visual consideration, making use of colour relationships, of the tension between nature and technology, hinted at in my extensive series, 'Divided', of 1999-2000. These related subjects seem to combine in the 'Bridge' paintings, mostly dating from 2002, although having evolved earlier. Two different qualities of paint are brought together, restrained in the tectonic 'bridge' and volatile in its environment. Fluid, drenching arrangements are opposed to what gradually developed into a severe geometric structure, a simple, spanning form that joins and divides, a symbol both of 'man's triumph over nature' and of unification. In these and subsequent paintings I have used a layering technique which permits a view of earlier spatial complexes in the compositions and that alludes to the notion that there may be many additional dimensions beyond or parallel to the supposed three or four, that are unseen or unsensed by human beings. Calligraphy, especially oriental painting and writing, is an art that has interested me since my youth and gesture has informed my painting almost throughout my life, but positively since the late 1960’s. Thus, much of the handling and imagery in my work up to the present has a generally cursive rhythm.'