Richer London

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Ms Rose Davey

Adjunct Professor

Ms Rose Davey

Ms Rose Davey

Biography

Rose Davey graduated from MFA Painting course at The Slade School of Fine Art in 2010, after completing joint honours in Fine Art and Art History at The University of Edinburgh and Edinburgh College of Art in 2007.

Rose is a practicing artist, and has a studio in East London. Recent exhibitions include, Little Patch of Yellow Wall, 2014, curated by Jane Bustin, Lion & Lamb Gallery, London, Tortoise, 2014, WW Gallery, London. Significant Others: Part 2, 2013, Advanced Graphics London, Creekside Open Selected by Ceri Hand, 2013, APT Gallery, London, Assemble, 2012, Liquid Courage Galley, Nassau, Bahamas. Back & Forth – 8 Artist’s from London, 2012, B55 Gallery, Budapest, Hungary.

Alongside her studio practice Davey also curates and exhibits with artist collective LeandaKateLouise, of which she is a co-founder. LKL’s most recent project 6th Project Show – Off in November this year, included the work of Turner Prize winner Martin Creed, and recent John Moores painting prize winner Rose Wylie. Show – Off invited a seated audience to experience a choreography art works on a lit stage; sold out each night, it was hailed a critical success.

As well as teaching at Richmond, Rose has delivered annual art history lectures to MFA Painting students at the Slade School of Fine Art since 2011, and works with the Islington Youth Offending Service on their Summer Arts Programme.

www.rosedavey.co.uk
www.leandakatelouise.com


Faculty Research

Show-Off

LeandaKateLouise presents Show-Off, a choreography of artworks.

Saturday 8th November 2014
Sunday 9th November 2014

Artists:
David Batchelor, Sam Belinfante, Jane Bustin, Martin Creed, Blue Curry, Matthew Darbyshire, Rose Davey, Claire Dorsett, Iain Hales, Tess Jaray, Sam Kennedy, Rory McCartney, Bruce McLean, Zoe Mendelson, Paulina Michnowska, Lisa Milroy, Mali Morris, Rob Phillips, Heino Schmid, Phoebe Unwin, Tessa Whitehead, Vicky Wright, Sarah Kate Wilson, Rose Wylie, Joel Wyllie.

Show-Off

Show-Off aims to mobilise sculptures, paintings, drawings and performances in front of a seated audience, physically bringing a procession of works to directly ‘meet’ the onlookers rather than the viewer activating the work through their own movements in space.

Show-Off is born from a frustration with private views, where artworks often provide a context for socialising, which in turn obstructs the intention of artwork as viewed object.

This exhibition builds upon the legacy of a previous LKL project The Painting Parade, which saw 24 artists parade their paintings through London from Tate Modern to Green Park.

Conjuring ideas of a catwalk, cattle market, debutant ball and auction house, art handlers will carry or direct each work on stage one by one to ‘show them off’. Artworks will be professionally lit and illuminated for a limited time before being carried off stage.

The stage has been conceived and made by Gary Woodley as a design for flexible living, allowing it to be reconfigured in a multitude of ways. Individual plywood units will each be moved, stacked and rotated to present each artwork in varied formations.

Get in touch

I teach on:
I teach two Introduction to Drawing classes. This class gives students the opportunity to explore the medium of drawing without regardless of their ability or experience. Students build up their confidence during the first half of the course, through drawing from still life, the figure and learning linear perspective. The second half sees students take more ownership over the direction of their work, as they are encouraged to develop their own ideas and methods of visual investigation. Students begin to develop their own visual language which becomes more refined in their final personal project.

The Language of Art familiarises students with the concepts of art that have risen and fell throughout History. Exploring the relationship between the Classical and Contemporary, how religious, social and political turmoil can see art progress, and the changing status of the artist. Students examine paintings through practical means, using colour, and team drawing to develop an understanding of an image. Each student presents on a work and the class experience two museum visits to the National Gallery and Courtauld Gallery.


Some of the courses I teach:
ADM 4200 – Introduction to Drawing
ADM 4100 – The Language of Art


Research Cluster:
The International Visual Arts and Cultures


Research Interest & Expertise:
My research as an artist concerns works that may at first appear abstract, although they also operate as figurative in the way they serve as portraits of themselves. Each painting is a meditation on the object on which it appears. This is almost always a rectangle, an essential shape on which to work rather than an accepted one. The dimensions and materiality of the chosen surface, such as the grain of the wood, dictate the location of the paint. Colour is the only element that is liberated from the instruction of the rectangle. The formal Modernist nature of the painting strives to update itself by placing emphasis on the arrangement of works and the selection of colour.

www.rosedavey.co.uk

As a curator I work with the artist collective LeandKateLouise of which I am a co -founder. LKL are united by a desire to experiment outside the studio whilst remaining free from the constraint of the gallery. LKL strive to explore the gap between the artist’s studio and the white gallery space; the gap between the art world and the public and the gap between emerging and established artists.

An on-going series of projects are designed to generate innovative ideas and exhibitions that challenge both LKL and the artists they work with.

www.leandakatelouise.com

As an art history lecturer I am fascinated by the relationship between making and theorising artworks. I believe that when analysing an art work equal weight should be given to not only what it means but how and why was it made. By discussing art of the past in similar terms to the art of today one is able to bridge the gap between the two; demystifying the miracle of the masterpiece and unpacking the status of the old masters as unattainable genius.