Rose Biography

Artist's Statement

Someone once said to me – “creativity is the space in between”. That is, when our minds appear to be idling, or resting from everyday things, that is when they are at their most creative. And so it is with me. In oil, my work could be described as mostly abstract, but in fact many of the ideas are inspired by the shapes I have observed in nature. Everything we see can be broken down into geometric shapes, and then shapes around shapes. In addition to abstraction, my work has a surreal dimension to it. As well as from nature, a great many of the innovative ideas are drawn from my dreams and I can carry whole pictures around in my head for several months until I have committed them to a canvas or a sketch book. As well as shapes and patterns, colour and texture are very important dimensions to my work. Colour enhances patterns and texture enhances structure. For example, I use tissue wipes, combs and sometimes my own fingers to work thickly applied paint into providing that texture. To me anything is permissible; I never forget my classical training, but rules are made to be broken to obtain the exact effect that I am looking for. I almost never set about trying to create something that everybody will admire. For me, it is very important and exciting to express myself just as I want, not as other people want. If the end result is at times controversial, then it is my controversy! Abstract art and surrealism are the main driving forces behind my paintings in oil. But, as a change, I do enjoy sketching landscapes in the countryside, especially in my chosen country of residence, France. Many of those sketches, I complete in ink or watercolour in situ or back in my studio, the detail from memory. Lastly, I find I gain pleasure and satisfaction from painting still life with flowers. Nature provides its own intense colours. Questions to Rose from a Paris-based collector:......... Q: I know many of your paintings in oil have many layers. Can you tell me more about your layering technique?................ A: The Old Masters used layering to get the satin effect they wanted. I have adopted a similar approach. Sometimes, I wait for a layer to dry before the next; other times, I work the new layer in whilst the first layer is still slightly wet, and it can be of a different colour, too. For example, in my painting, ‘From the Inside Looking Out’, the red had 8 layers, each applied after the previous was completely dry. But, I wouldn’t want you to think that I always use layering, because the cream colour in the same painting has been applied in just one layer with vigorous use of a pallet knife, whilst the edges with the red were still wet!................ Q: What sort of work are you planning in the future?.............. A: I have several new ideas after my summer time visit to the French Alps, this year. I made a few sketches, but most of my new ideas are still in my head. That’s OK, because after my big trip to Iceland in 1998, I carried them around for several months. I’m able to do that quite easily, it seems............. Q: If you had to start your professional career all over again, what would you differently? What was your worst moment? Best moment?................. A: As a student, and just afterwards, if I had had more money, I would have followed up my talents in sculpture. Nowadays, I think that talent comes out as an ability to think in 3D whilst working on my pictures. Perhaps that gives them the texture and the structure I’m looking for. Mmm, the best moment? Well, I think that was making the decision to go to work in Iceland. It provided a massive new burst of energy and creativity and some of my best work has been completed since that period. The worst moment? Well, actually, most of my bad experiences in my life have had absolutely nothing at all to do with my career. So in a strange way, I have always been able to I keep optimistic about my career, even when things in my personal life have come crashing down around me................. Q: What is your view on the way that modern art in general is going at the moment? ................. A: Frankly, I’m absolutely furious! So much of what I see in new exhibitions, is not art. I ask you - shrink-wrapped houses and piles of rice! Is that sincere art? Luckily, a few great artists are still sincere. So for example, I admire hugely Howard Hodgkin for his use of colour..................... Q: A few of your quite stunning works have been inspired by industrial landscapes, but there are only a few, it seems. Why is that, exactly?................ A: It is true that most of my inspiration stems from nature and the countryside, and not from cities. But, I do like the inherent shapes that certain architecture provides. I suppose that’s because I studied architecture at college, but in truth, I prefer works of nature to inspire me, and less so, works of man................. Q: How does working in France compare with working in England?................. A: It’s now much more peaceful! I have time to work at my own pace. Also, Brittany has some beautiful, still relatively undiscovered countryside................ Rose, thank you.