Screen Print for OOF Magazine by international acclaimed painter Rose Wylie
In March 2018 we started work with new art and football publication OOF Magazine on a screen print by acclaimed painter Rose Wylie. The print entitled ‘Plastic Footballers’ was produced from an original painting that formed part of her recent solo exhibition at the Serpentine Gallery, London. Rose’s has completed a number of football related works and these were a direct influence of her time spent watching Match of Day. While her husband watched the day’s game highlights, Rose would draw, taking inspiration from the action of the television. Describing Plastic Footballers Rose says: I have been intrigued by plastic interpretations of live events or performance, like plastic cake decorations of a bride or bridegroom. And Subbuteo footballers were every bit as good as an idea to work from. They reference both football and children’s Christmas presents, and the exciting box they came in was not an exception. It triggered this image.’
It was a delight to work again with Rose and her studio following a now sold out edition entitled Blue Girl, Jealous completed with Transition Gallery, London for her show in 2013.
Justin Hammond, associate editor and co-founder of OOF told us about the process of working with Jealous and commissioning the print:
‘Since we started working on OOF, it's always been the plan to publish a print or some kind of limited edition to coincide with each issue. We featured a piece on Rose Wylie's football paintings and discovered that she has a huge stack of football-related drawings and collages on paper, many of which have never been shown. Rose offered us the opportunity to make a screen print and we picked out Plastic Footballers for its irreverent humour. After that, we handed the artwork over to the experts. Adam and Tom at Jealous did a brilliant job in bringing everything together, refusing to balk at my exasperating indecision and constant stream of stupid questions.’
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Wessex Museums invited Ann-Marie James to delve into the collections of their four partner museums (Wiltshire Museum, Dorset County Museum, Poole Museum and The Salisbury Museum) and choose an object from each to inspire a series of artworks.
She spent a year creating the finished pieces, all in gold or white. Gold derives from the Bush Barrow Lozenge (Wiltshire Museum) and the tale of Bacchus and Midas (Poole Museum); white from the chalk that the Amesbury Archer (The Salisbury Museum) was originally found in, and the white of the Roman mosaic (Dorset County Museum).
Her techniques included drawing, painting, printmaking and gilding with 24ct gold leaf.
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