Rose Wylie: Car and Girls

Car and Girls is a solo exhibition by the British artist Rose Wylie, featuring two- and three-dimensional works, the artist's practice emphasizes the exchange between painting and sculpture, and highlights the way she has entered sculpture in recent years, allowing her to explore new perspectives on recurring themes.

The artist is known for his uniquely recognizable, colorful, and vibrant works that, at first glance, appear aesthetically simple and don't seem to match any discernible style or movement, but upon closer inspection reveals, Her ingenious observations of nature and subtle intricate meditative visual representations themselves. While the sculpture is a relative innovation in the artist's oeuvre, having launched within the past five years, she has long been interested in exploring perspectives and compositional strategies outside of the traditional Renaissance perspective, often repeating a given theme or theme as advancement Her formal investigation means. She is interested in the collision of different forms, which removes any preconceived hierarchies between genres, themes, and scales. It is composition, color, form, and rhythm that connect the works, not the subject they depict.

Her sculptures derive from themes in her paintings and drawings, some of which will be shown side-by-side in this exhibition. Her intensive handling of pigments and frequent use of collage elements in her paintings naturally give sculptures a material presence. A boxy 1950s drawing of a car, outlined in black paint and filled with long feather strokes to create a ceramic wall relief, composed of stacked, slightly irregular geometric shapes that blend into the impression of a car, Let Wylie break down the form further. Meanwhile, the swirling red outlines of painted aluminum reflect Wylie's series of drawings of female figures that expand her ongoing interest in different concepts of beauty. For the artist, working in three dimensions represents a further transformation from raw imagery to painting to sculpture, also revealing the formal qualities of these shapes as well as their symbolic resonance, extending her unique visual language to the field of the viewer.
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