"GREEN" is a Collage Collective Co
publication that features 50 collage artists in the first we’ve released
that explores a theme. Through the artist statements, works in this
publication display a connection to the word "green."
2015. On the Red Fox Press stand at the Marche de la Poesie, Paris.
Edition: signed and dated, limited to 100. To purchase a copy: just copy and paste it in your browser to see more
pages from PEOPLE and to purchase: http://redfoxpress.com/AB-rose.html
Tidwell, Zach Touchon, Ginnie Gardiner, Matthew Rose, Marsha Balian,
Lisa Hochstein, Robert Mars, Zach Collins, Waldemar Strempler, David
Wallace, Kareem Rizk, Gary Bibb, Angela Holland, Steven B. Schreiber,
Colin Johnson, Evan Clayton Horback, Hope Kroll, Sherry Parker, Frank
Elbert Whipple, Joan Schulze, Lanny Quarles, Dennis Parlante &
Jonathan Whitfill, Julie Fitzgerald.
It's going to be Huge!
April 15, 2016 - June 15, 2016
Technology, Mobile Media, Cell Phone Culture, Tiny House Movement,
Downsizing, Small Footprint; these are some of the trends in today's
society. In the world of collage art small is king. Due to the
kind of materials collage artists use such as books, magazines, old
papers, illustrations, etc. the majority of collage materials tend to
be roughly the size of a book page. The ergonomic considerations of a
book suggest that it be small and able to be handled. The previous
century has been rich in paper artifacts and this has allowed artists
to develop art forms based on this material.
works are more about a conversation among friends than a lecture to a
large crowd. With small works the viewer is beckoned to come close to
look upon and cherish the small details of the work that communicates
through whispers rather than the amplification of large scale. In a
small work every little detail takes on significance whether it be a
small punctuation mark or the ghost of an image from the back side of
intimate works focus our vision and make it sharp and clear. Like the
study of a poetic work, collage art often references allusions to a
broad, rich history beyond itself through the use of paper artifacts
containing printed matter, stains, fugitive hand written notation and
the patina of use or abuse. Every detail has significance and is part
of the content to be deciphered by the astute viewer.
artists form a unique and interesting community. The hunt for found
materials is crucial to the process of many collage artists causing
them to be consummate collectors of things. Their collecting of
material artifacts for their artistic appeal and possibilities rather
than for rarity or value often makes them keenly aware of popular
culture - present and past - with the subtle eye of an anthropological
an art collector's point of view, traditionally one often thinks of
small works or works on paper as preparatory for larger works on
canvas. Small works are often relegated to the department of drawing.
But in the case of collage such as seen in this exhibition, these small
intimate collages are typically the final work of art, not a study or a
preparation for another work. For the collector who is also a
bibliophile, collecting collage art should have a special place in
their heart and in their collection. Small framed collage works can be
collected like books, exhibited in clusters and stored on shelves or
like documents, kept unframed in file drawers to be brought out and
cherished then returned to the drawer.
an art of its time, collage art; its imagery, its techniques, its
attitude speaks to our confrontation with a fractured multifarious
image of the world in an age of information overload. The activities of
sifting, sorting, organizing and prioritizing become the basis and the
goal of artistic activity in this hummingbird era of ADHD
(Attention-Deficit/Hyperactivity Disorder). Collage artists explore the
artifacts that have poured out of the cornucopia of modern society
using them as grist for the creative mill generating new works of art
with materials that have already had their useful life and have been
retired from their intended purpose. In the hands of collage artists
these materials often achieve poetic stature when their inherent visual
qualities are brought to the fore and their former usefulness
Lover's Discourse, 2016. Part of a series of collage works on book covers. This piece is a riff off of John Stezaker's collage approach of inserting a landscape into the gaping maws of two lovers. My take is to inject a 1930s photogram of caffeine molecules into that intimate space. See more book cover collages and other works on the instagram feed: Matthew Rose Instagram.
We will be offering as a prize a print of Immaculate Perception (Baby Bloo) to one of the visitors! The print is signed and dated 2015.
Surrealism, asserted André Breton, was above all "a revolutionary
movement." And that movement, both visual and literary, was largely
identified with the dream. Shock, non-sequitur, unlikely but often
gorgeous juxtapositions were the signature elements of surrealist works.
These ideas come to term in Immaculate Perception.
Beautifully printed by Mariela Cadiz in Paris, the work is a lullaby in
the surrealist cannon: A young girl in a bob cut dreams in a dream of a
lemon tree. She is the revolution.
W16 0VERDRIVE | MODE D’EMPLOI S. N. S. HERNING X MATTHEW ROSE Unique Machine World Meets Fashion World Meets Art World Meets Unique Machine World Meets Fashion World
PARIS – Danish Designer and knitwear manufacturer S. N. S. Herning launches its 2016 Winter Collection and celebrates its 85th anniversary with a collaborative exhibition of fashion and the collage works of Paris-based American artist Matthew Rose during the Winter Fashion Week in Paris – 20 thru 27 January. A vernissage for the collection and collaboration is planned for Saturday 23 January 2016.
S. N. S Herning’s Winter 2016 collection – 0VERDRIVE – includes 85 menswear and womenswear knitted pieces, a design style synonymous with the Herning, Denmark-based house since 1931.
“Our knitwear collection is logical and pure, but it speaks about the marriage of technology and values,” says designer and owner, Søren N. Skyt, grandson of the company’s founder Søren Nielsen Skyt.
The W16 0VERDRIVE collection is third installment in S. N. S. Herning’s META series of 5 seasons, explains Søren N. Skyt. “The overarching theme is human value,” he says. “Our original origins : our heritage and storytelling – in particular our relation to technology and the imminent danger of technological development running amok, changing our concepts of value, perhaps irrevocably.”
COLLABORATION 0VERDRIVE is also a collaboration – MODE D’EMPLOI – with artist Matthew Rose, adds Søren.
“We are exploring art and fashion, ideas and machines, the way words and images drench us in a post-digital consciousness, how information in all its manifestations seeps into our beings – how we change, adapt, reinvent language,” says Søren. “In many ways the 0VERDRIVE collection is a gentle reminder and appreciation of what we have – and what we can do – that is good, with regards to our unique human abilities, like the appreciation of great art, great wine – and a well-crafted garment.”
Matthew Rose and Søren N. Skyt met only a year ago and developed a friendship over Wittgenstein, Kierkegaard, art and fashion – how technology, consciousness, linguistics and making things are woven together and at times expresses our greatest strengths and some of our most intriguing constructions.
“Aesthetic expression – art making in its pure form – is one of the last unbridled domains of creation,” says Søren. “And art making is so far mostly uncontaminated by artificial intelligence. With Matthew’s work, we have something like a private language understood by all.”
COLLAGE Working exclusively in collage for many years, Matthew Rose created the series MODE D’EMPLOI for this collaborative exhibition. The series gestures towards the machine with cutouts and tearouts of magazine page fragments combined into “machines” that imitate speech, and intimate function. Serious, humorous, flat and yet indicating depth, these works – all black and white – are incarnations of a “history of the future.” In addition, Matthew Rose produced the print, Final Theory, 2015, especially for 0VERDRIVE : MODE D’EMPLOI.
“My interest here was to strip down content and reflect something out of splinters of the past,” says Rose. Using magazines from the 1920s and 1930s the artist worked instinctively wrestling shapes from printed pages, mapping out an animal, architectural instinct, building shapes into machines as it were – producing a kind of history, a meta-language of the machine.
“This series is very coherent with the kind of elegance and intelligence of Søren’s W16 design and collection,” adds Rose. “I could not have dreamed of such a gorgeous and generous collaboration.”
0VERDRIVE also includes a collaboration between Copenhagen-based photographer Alastair Philip Wiper and S. N. S. HERNING in documenting the aged knitting machines in a soft spoken, poetic, almost religious portraiture.
We hope that 0VERDRIVE : MODE D’EMPLOI will engage the public in a fresh and unusual way.
Immaculate Perception (Baby Blue), 2015. Giclée print, 15 x 20 cm. Signed and dated (2015), on the back. Printed in Paris, December 2015. Available: 25 euros. Paypal. Includes postage anywhere in the world. Only 21 available. Interested? Details and contact: Immaculate Perception.
A wide range of new and older works in a cool format is now up and running on Instagram. Check out the show. Some works available, others in collections in the US and Europe. Follow if you like, win prizes. Go here–––––––––≥≥≥ Matthew Rose's Instagram Feed.
A new series of collage works on canvas decrypting and recrypting bande dessinée printed material from the early 1960s and 1970s is now on view at Nisa Touchon Fine Art, in Santa Fe, New Mexico. each work is 30 x 30 cm on canvas, dated and signed 2015. To purchase, please follow this link:
Jambles, 2015. Nine of a suite of 15 collage works for The 1067 Group
exhibition at The Observer Bldg, Hastings, UK. Opening December 2015. The works are all priced the same, contact here with any questions, or for exhibition information.
“1067 Mind Invasion” At The Observer Building, Hastings, UK Major British Survey of Contemporary Collage : 500 Works On Exhibition
Private View – Friday 4 December, 2015 : 6.30 PM
HASTINGS, UK – “It could be the most extensive survey of British collage in the last 10 years,” says Liz Finch, organizer and artist for the 1067 Group’s major exhibition set to open with the private view on 4 December at 6.30 pm at The Observer Building in Hastings, UK. The exhibition features the work of 26 artists and runs through 20 December, 2015.
Following the success of the previous Hastings exhibition 10 years ago, the 1067 Group invades Hastings again, this time in a larger, more generous venue. Formerly comprised of East Sussex-based artists and designers, the 1067 Group has expanded to include a handful of internationally known collage artists. The range of works and magic woven by these artists, will clearly rival any London show surveying contemporary collage.
“Each artist will present some 20 works, with the sole restriction that each piece measure 15 x 15 inches square,” says Hastings artist Peter Quinnell. “The exhibition promises to be a high-quality survey with works ranging from a current interest in geometric abstraction and pop to surrealism and text-infused realism.”
Collage has become a medium as powerful and omnipresent as paint – or wood, metal, or stone sculpture. It is wildly versatile and is often used as an installation component or subject – think wallpaper. The use of printed images, photographs, paper or any material that can be fixed and attached to a canvas or paper support is often recombined in novel ways. Small details can be enlarged; the world explored in minutiae or in odd but meaningful scale. The results of collage works are often politically and sexually charged, and marry reality to fantasy in a way other mediums can’t easily do.
“For me, collage is another way of essay writing, of spelling, of producing a philosophical (realist) text,” says Paris-based American artist, Matthew Rose. “What is always compelling about collage is its capacity to stack and stagger meaning from a simple paper base. In the 1067 Mind Invasion exhibition, I use paint sample grids to discuss theology and technology.”
The Observer Building is in the heart of the Hastings Art District: Artists, illustrators, film makers, fashion designers often congregate in the commons areas, to meet, greet and exchange ideas that are making the British art world tick.
Michael Leigh, the British Fluxus & Mail artist from Manchester, notes that “The Observer Building is a magnet for artists and musicians experimenting every which way. One of the coolest places in England.” He points out that “1067” is a reference to the Battle of Hastings, which took place in 1066 and put the Norman French in control of the British Kingdom. “Of course, 1067 is a year late to the Norman Invasion party,” says Leigh.
The poster –1067 MIND INVASION – was designed by Martin O’Neill, renowned British illustrator in editorial and advertising.
The 1067 exhibition is open Tuesday through Saturday from 10.30 am to 5.30 pm; the gallery is closed Sunday and Monday.
Among the artists exhibiting: Matthew Rose, Peter Quinnell, Liz Finch, Nichola Bruce, Martin O’Neill, Richard Heslop, Michael Leigh, Chris Milton, Jennifer Binnie, Christine Binnie, Deborah Stevenson, Luke Pendrell, Paul Burgess, Catherine Denvir, Annie Millar, Shorn Thompson, Bunny, Lucy, Alex Mazari, Tom Bartlett, Jeb Haward, Oska Lappin, Danny Pockets,Robert Sample, Dave Reading, Jo Redpath, Richard de Pesando, Delaine Le Bas, Lorna Crabbe, Jane Marriner, Jason Williams, Rebecca Marshall, Tim Marrs, Gary Neil, Rozenn Le Gall, Marc Deb, Amanda Jobson…
Dates & Venue: 4 - 20 December, 2015. The Observer Building : 53 Cambridge Road, TN34 1DT Hastings, East Sussex, UK
For more information on the show, images or interviews with the curators, please contact: Peter Quinnell – firstname.lastname@example.org or tel: + 44.142.4423.134
Some new works of mine are up now at JL Cleret / Artquest Galerie
... Ideal Medical Accounting/La Comptabilité Médicale Idéale (2014).
The series of collage works are visual eye/mental health "tests." Made
in France. Ask Jean-Louis Cléret for prices and availability. Click on the image to enlarge.
brand new book of my drawings, is just out from Red Fox Press / Ireland.
More than 40 drawings, often with text, are included in this little
irreverent book that seeks to mete out the absurd, naming objects after
people and people after their worst tendencies.
My People book is fun and funny and
essentially a kid's book for adults. I hope to turn the book into an exhibition in 2016 (there are another 50 drawing that were unpublished). The
edition is limited to 100, each copy is signed and dated.
- Thread binding. - 52 pages - 100 numbered and signed copies. - August 2015 - price: 35 euro / 30 GBP / 40 $US
The edition of People is moving quickly although some will be reserved for Red Fox's book fairs this year:
London Art Book Fair, Whitechapel, 10-13 Sept 2015 New York Art Book Fair, PS1, Stand R01, 17-20 September 2015 Frankfurt Book Fair, 4.1 L37, 14-18 October 2015 UK Fine Press Fair, Oxford, 31.10-1.11.2015
If you'd like to reserve or order a copy, contact Ham or Francis at Red Fox.