Remix: Uncouth Vermouth - LA DIVE BOUTEILLE 2016

I will be working with Bianca and her amazing Brooklyn-made Uncouth Vermouth at La Dive Bouteille in Saumur, France this weekend.  My work will be on a new batch of her incredible vermouth.  More here: Uncouth Vermouth ... and La Dive Bouteille.

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. 

A larger and slightly different print is available (only a few left) from The Calm Gallery (online sale only).  You can see and order the limited edition (50)  piece here: Matthew Rose / Immaculate Perception / The Calm Gallery...

Article by Larry Jaffee on the design and art of the Uncouth Vermouth brand and label.

Immaculate Perception, Baby Blue, 2014: Print

Matthew Rose, Immaculate Perception, Baby Blue, 2014.  (210 mm × 280 mm or 8.27 in × 11.02 in). Edition number, price and availability to be announced. Printed on acid free high-quality cotton rag fine art paper.  Please contact for all details: IP BABY BLUE.

Fantasy : Musée Magazine

Musée Magazine published a few works of mine in their "Fantasy" issue (No. 108), this winter, featuring several emerging artists.  The three pieces were all collage works on paper including Immaculate Perception, Days Like These and A Perfect Friend, the latter two images of books of collages of the same name.  I was asked about the relationship of photography to my work but that text was not published. My response was directed more towards current work but it applies to these works as well as they implicate and recycle photography in different ways.  

On Photography & Collage

I’m not a photographer.  But some years ago I developed some double exposures from a cheap plastic camera – the images I discovered were accidents – the film did not advance as it should have. I’d printed out a contact sheet, and had a half dozen produced large and in color. Prior to that I’d taken a photograph of my niece. She was a baby, sitting on the kitchen floor playing with bowls and spoons. I printed the photo and then cut out her silhouette, which flattened all her features.  Some thought the “baby” was a “thalidomide” baby.  That silhouette formed the basis of a collage series that spanned nearly 10 years – I used the silhouette as a kind of light to illuminate other images and surfaces; it shaped ideas, and gave a supra-impression of  a full range of ideas, extending even to mosaics and sculpture. 

As I’ve expanded my range of collage subjects and techniques, the photograph has become a support in many interesting ways.  For one I’ve come to regard most magazine images I use – as well as photocopies – as photographs. I find myself intrigued with the magazine and vintage book papers these images are printed on. All printed material, particularly pre-1960, offer rich image possibilities due to the printing technology used. I cut and alter these images, sometimes using paint, sometimes sandpaper, sometimes water. I will sometimes turn them to undecipherable bits; other times using fragments in combination with others – scratching their color away. I’m interested in all sorts of photographed and printed images, and can sometimes hunt for bits of red or blue or yellow for a specific work, combining it so the results are often abstract. Usually the pieces, particularly in the more recent Suicide Specials launch a distilled but many-faceted narrative.

Other works, however, are extremely direct and employ only a handful of elements. I seek out photographs of objects or people that have, with their vintage printing and papers, a faraway, often nostalgic feel.  I’ve come to view photography as something – anything actually – that has been reproduced mechanically using optics and printing technology. And I’ve no issues with reprinting images using my own store of vintage papers – some virgin some already printed.  

Prints for the Immaculate Perception (the girl in the lemon tree) work are still available via Keep Calm Gallery in London, UK.  Click here to see them: Immaculate Perception Keep Calm.

Mouthing Off: Immaculate Perception, Uncouth Vermouth by the Mindful In This Month's Edition of Food & Wine

Immaculate Perception, my collage work, is featured on Uncouth Vermouth's Dry-Hopped Vermouth.  The new Vermouth received serious play in Food & Wine this month. 

The Calm Gallery is offering the work as a limited edition signed print. 

"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 by Matthew Rose. 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, says the artist. 

 

Immaculate Perception measures 80 cm by 60 cm and is printed on fine art paper in a limited edition of 50 signed and numbered prints.  There are only a dozen or so remaining."

 

See: Immaculate Perception at The Calm Gallery.

The Calm Gallery London : Alphabets & Prints. An In Studio Interview with Haley & Lucas on Oh My Superfly

Haley and Lucas run the exquisite Calm Gallery, an online gallery and seller of prints based in London. I have worked with them from years; more than a dozen of my prints are on their site and in a recent interview with Fanni of Oh My Superfly, you can see a few of my works, among them Immaculate Perception and Sparkasse (sold out, sorry), pictured above in The Calm Gallery studio. Haley & Lucas have a half dozen of my prints in stock – Take a look here.

Read the full interview: Meet the Superfly Creatives: The Calm Gallery.

See The Calm Gallery here.

Immaculate Perception: Print

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 by Matthew Rose. 

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, says the artist. 

Based on a smaller collage, Immaculate Perception is making a second tour of Keep Calm Gallery. This new version measures 80 cm by 60 cm and is printed on fine art paper in an edition of 50. The edition is available exclusively from Keep Calm Gallery (London). Price: £130.00, unframed.

• Limited edition of 50
• Signed, numbered and dated by the artist
• High quality giclee print
• Acid-free fine art paper
• 80 cm by 60 cm (31½ by 23¾ inches)

To find out more about producing high quality digital prints in Paris – prices, technical specifications, papers available – please contact Burning Boy Press: MATTHEW.ROSE.PARIS [at] GMAIL.COM.