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Rose Wylie

 
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Flying Witches and JM, 2004, Oil on canvas,
183 x 366cm


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Her paintings are inspired by the world that surrounds her, anything seen or remembered which remains vividly in her mind. This includes trees, birds, gift flowers, newspaper illustrations, Yellow Pages, TV, computer games and the cheap toy market. She writes on the paintings as much for pattern as meaning.

The first impression when facing Wylie’s paintings is that of naivety. The raw brushstrokes bring a sense of immediacy, spontaneity and anarchy. Friendly cartoon-like figures seem to carry the simplicity and innocence of children’s art and her technique suggests an unmediated creative process devoid of intellectual or conceptual elements. Upon closer inspection the depth of imagery with its different styles and textures makes the experience increasingly complex both materially and stylistically.

Rose Wylie’s paintings are related closely to her drawings. These drawings are made in hard pencil, ink, coloured pencils and biro and are often cut and built up with glued corrections, becoming thick when finished. In the paintings the sticking of edges to the canvases, necessary for the attachment to a stretcher, continues the cut-and-stick process used in the drawings: they both share the same object quality.

In Wylie’s own words she describes her work as being “free from imposed drawing conventions, known solutions and from an accepted artistic look.” The figures superpose each other, giving the impression that they float on different surface levels on the canvas as if they belong to a dream world. Painted with oil sometimes as thin as watercolour, the thickness of the paint varies from one area of the painting to the other, adding depth to the work. Made on large canvases, the paintings are imposing, with their life-size or oversized characters that populate the gallery space.

A visual voyage through Wylie’s maze of narrative possibilities and images arising out of the subconscious can become an experience, leaving one feeling breathless but fresh and ready for more.

Rose Wylie lives and works in Kent.

Recent exhibitions include Reverse Engineering, Pearl, London; Room Project, Twink & Ivy,
Trinity Theatre, Tunbridge Wells and EAST International, Norwich Gallery, Norwich.
   

Rose Wylie

1934 born in Kent, United Kingdom

Lives and works in Kent, United Kingdom

Education

1979-1981
Royal College of Art, London

1952-1956
Folkestone and Dover School of Art

Grants

1999
The Dupree Award, Royal Academy
Charles Wollaston Award, Royal Academy shortlisted

1998
Puaul Hamlyn Award, Nominated

1995-6
The British Art Show 4, considered

1993
Interiors, Towner Art Gallery, Eastbourne, joint first prize

Solo Exhibitions

2005
Fosterart, Leann Barber, London
2004
Room Project, Twink & Ivy, Trinity Theatre, Tunbridge Wells
1999
Lined Paper Paintings, Stephen Lacey Gallery, London
1998
Red Legs & Other Paintings, Abbotsbury Studios, Abbotsbury
1995
Likeness in the Unlikeness, Reed's Wharf Gallery (Stephen Lacey), London
1985
Trinity Arts Centre, Tunbridge Wells

Group Exhibitions

Two-Person Exhibitions

2004
Rutherford College, University of Kent

1999
Hullo Lawrence, Hullo Leo, Wrexham Arts Centre
Hullo Lawrence, Hullo Leo, Aberystwyth Arts Centre

1994
Towner Art Gallery, Eastbourne

1988
Odette Gilbert Gallery, London



Selected Group Exhibitions

2004
EAST International, Norwich Gallery

2002-03
Jerwood Drawing Prize, Jerwood Gallery, London & touring

2002
PizzaExpress Prospects, essor gallery project space, London
Reverse Engineering, curated by Jeff McMillan, Pearl, London

2000
...not enough British Art, VELAN, Turin
Give and Take, Jerwood Gallery, London

1997
The Jerwood Painting Prize, Lethaby Galleries, Central St.Martin’s College of Art & Design, London

1994
EAST, Norwich Gallery

1991
John Moores Livrpool Exhibition

1982
Hayward Annual: British Drawing, Hayward gallery, London

Bibliography

2003
Lambirth, Andrew, ‚Real Merits’, The Spectator, 7 June

2000
Packer, William, ‚Private Eye for public Art’, Financial Times, 24 June
Lynton, Norbert, ‚Forward Thinking’, RA Magazine, Autumn

1999
Cumming, Laura, ‚The Jury’s Still Out’, The Observer, 6 June
Clark, Robert, ‚Exhibitions’, The Guardian, 6 February
Henry, Clare, ‚Rose Wylie’, Galleries, 10 March
Gayford, Martin, ‚Exhibitions’, The Spectator, 27 March
Lambirth, Andrew, ‚Modern Myth’, RA Magazine, March
The Sunday Express Magazine, ‚This is Rose Wylie’, May
RA Wollaston Award Brochure, illus
Lee, David, ‚In focus, Rose Wylie’, Art Review, March
Renshaw, Helen, The Express, Saturday Magazine, 14 August
Grant, Simon, ‚Exhibitions-Rose Wylie’, The Guardian Guide, 13 March
Lloyd, Jill, catalogue essay, Stephen Lacey Gallery, Exhibition opened by Sacha Craddock

1998
Grant, Simon, ‚Exhibitions-Rose Wylie’, The Guardian Guide, 26 September
Skinner, John, essay, Abbotsbury Studios, Exhibition opened by Isobel Johnstone

1997
Edward-Jones, Imogen, ‚Arty Animal’, The Times Saturday Supplement, 13 September
Gayford, Martin, ‚Painted Into a Corner’, The Daily Telegraph, 1 October
Moyes, Jojo, The Prize for Artists who Prefer Painting to Pickling’, Independent
Glaister, Dan, ‚Art That Hasn’t Been Painted Into a Corner’, The Guardian, 29 September
McEwan, John, ‚The Man in the Ironic Mask Blows His Top’, The Sunday Telegraph, 5 October
MacRitchie, Lynn, Financial Times, 5 October
Hilton, Tim, ‚Exhibitions’, Independent on Sunday, 12 October
Sadler, Rosalin, ‚Yes to Everything’, Modern Painters, Winter
Bumpus, Judith, catalogue essay, Jerwood Painting Prize Exhibition
Sewell, Brian, ‚Hanging Judges’, Evening Standard, 29 May

1995
Lambirth, Andrew, ‚Rose Wylie’, What’s On, 15 February
Hubbard, Sue, ‚Rose Wylie’, Time Out, 22 February
Gooding, Mel, exhibition essay, Reed’s Wharf Gallery

1994
Feaver, William, ‚Critics Choice’, The Observer, 10 July
McKie, Ian, Contemporary Art, Summer
Art Review, Summer

1988
Fuller, Peter, Modern Painters, Summer

   

Rose Wylie

Union Gallery
57 Ewer Street
SE1 ONR London
United Kingdom

+ 44 207 9283388
+ 44 207 9283389
info@union-gallery.com
www.union-gallery.com






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