Colección AMMA - Rose Wylie

i've often said i like the plate of mixed biscuits i like choice on the other hand sometimes i don't like too much choice paintings have too much choice you don't like it people it's a sausage he likes you rose i can't believe that it's been like how many months since we last had lunch i think it's about 14 at least probably more and it used to be once every two weeks once every three weeks people get a lunch between us and you've now had your vaccine two of them but it's so nice to be back and also it's been a crazy productive time for you because you've been making basically uninterrupted making that's exactly right one of my favorite paintings in the new show is of um breakfast there's a spoon with that sort of thread you know what's called thread is it i don't know what it's called decoration i'll tell you what it was it was this little white line which i didn't put in the painting because it got fiddly that little white line and that line and then a black print i just i thought well here's the subject it's one of the most popular subject but that's what we're having this conversation upstairs about um painting from sight not just for memory that's right it was completely from sight and it also it's very close to me because i eat off that plate so every morning for breakfast and it's about climate change if you want it to be because there was so few fruit on it let me get you some food i'm gonna have some wine would you like a scotch egg we're tablos paintings i thought it would be nice to talk a bit about them because that's the sort of series of five paintings is it ah six six paintings in the show but i just wondered how they came into your kind of vision or i think um i mean i think i'm sure you know i like i like visual work that comes from cultures which are haven't been over developed it doesn't matter to me about how it's printed or what size it is all the reason but the painting is just so good i just immediately like it because they were untaught a lot of the painters are on tour yeah in fact if a painter is taught their interior they just always oh it's the difficulty of choice and discrimination and aesthetic judgment involved in painting that i think is what matters with abstract painting you don't quite get that which is why i go for figurative painting because i think it's i think it's the most difficult to do i think i just think it is so why not go for the most difficult no it's true but i love the retabulous paintings and i love how they connect to both like a kind of traditional moral tale like the butcher cutting off his fingers by looking at the girl it's sex isn't it it's religion i mean people laugh at it and they think oh well you know what's no way to run your life but they're not about religion no they're just about human stories and human rights the paintings i mean they're funny as well i think yeah they are funny but tell me about the man holding the airplane uh will he that is the closest to the retabulos imagery i have a there's less transformation this blue he was holding an airplane and the lower half of him below the airplane was one size and then there was the airplane horizontally and then above the airplane he was much bigger it's like putting a stalk in water you know it's much bigger it was where the line of the water is so this is i mean in european get it right strictures that's a mistake but i don't care about that this was i this is what i thought was wonderful but you've always liked an aeroplane i like i like things that fly it's interesting i think i said before it's escape yeah i also like a lot of legs centipedes i think they can quite run faster but i've always said you painted legs the best wood but you paint legs better than anything i think i love the way that you paint your legs and feet yeah hello i like legs holly puss do you want something off here hi pete pete has got short legs he's got shoulders he's not an elegant kiss but we have a picture of pete two paintings and books one painting of the people he's got short legs not only that when bird when cats see birds he goes low to the ground and he's got a big head he's dark so certain things certain aspects of that painting are completely taken from people with your uh i'd like to be under the sea paintings one is quite bare and minimal which i love that was the first one i remember the next one i did was a lot of pale green and i like the figure on the bottom has definitely reminded me of hedge if i've seen this outside i often put grass if it's in the sky i often put clouds you know that it's sort of settling things you put bits in which everyone can recognize and think well you know that's the top because there's a boat up there but she's sort of just floating and swimming under the sea yeah they're under the sea they're underneath yes you you like airplanes but you also quite like the sea the waves i like to see very much it's the edge the edge of the ground you know one stops and the other starts and they're very different the texts within your paintings are not real not really text i mean they read as text but they also sort of doesn't matter what this is their compositional it doesn't matter what they say no it doesn't know what they say but i also like the way you also chopped into bits often yeah you leave a sentence halfway through it or because i've covered it up because there's something wrong with the painting you cover it up and then you leave the original bit instead of removing it so i quite like evidence of uh and progression in a painting rather than you know it just happens and it's quite nice that you can see what's happened let's talk about the pineapple uh yes what does the pineapple symbolize uh nothing really i like the shape of it it was a pineapple i bought for lizzie because he was home for the easter holiday and she likes pineapple and it was sitting on the table and she was drawing it while i was drawing it you've always wanted to see something in your paintings come out of your paintings and be extra big like this idea of the the pineapple that started life as a watercolor and and now it's ended up as a three-meter it starts like a present for my daughter something she likes that's nice oh i do it does have a meaning i had it i looked it up once it says it stands in for a prickly woman [Laughter] but nothing about your art is about feminism no nothing to do with it no now you do that each little each little division has a little hook on it too i can see what and there is spiky leaves pretty warm a prickly woman but somebody else said it's for condition and reproduction and it's called flora meanings and which one would you go with well i don't know well i thought the prickly room was quite long yeah it's quite good there used to be certain subjects which were not considered respectable for a proper artist to work with which is why i did the opposite i used to do the opposite chocolate cakes with little ballerinas on them yeah you've done ballerinas yeah yes on purpose of course also fluffy head for self-portrait fluffy head was quite funny i mean it was i was going to bed i looked in the glass to go to bed do my teeth i had got lipstick on and i had my glasses all and i had this short fluffy hair my face was pale my eyes are quite small anyway but without glasses they're small no makeup i thought this is a subject it presented itself so i came back from the bathroom and drew it that's how that came i made drawings of it quite a few drawings but i can't remember painting that size that's such a sort of direct self portrait but there's the gangster retables painting which is interesting too i love the way that the composition of the figure and the foreground is like our third unfinished one of them wasn't that's because the drawing ended yeah in the original drawing ended up and where the drawing ended rather than making it up or going on and painted the man's seat yeah the retablos bloke in that painting had rather nasty legs and i painted them many many times and finally i looked at them after a gap and i don't like these legs so well what i'll do i'll um i'll make a rough measurement of the leg and i'll go to another piece of the studio all together and i will draw a leg of a trouser and then i'll take it and straight this one see how it looks so you went to a different part of the studio to draw the trousers or a different piece of canvas and a different bit of canvas so you can separate yourself from what you do it's not it's like doing you know just shot trying stop putting it on suddenly it's a and there's a flash of um a kind of excitement because it wasn't the before i remember when we first started working with each other we were quite concerned for um if you had time to make work for exhibitions but now you don't seem to be because well especially this year because you've had so much time i guess but you've made a huge amount of paintings in the last year well there's absolutely nothing else to do i think you should go fluffy next time i want full fluffy next time it can get fluffy it can just flop up fluffy

Channel: Fundación AMMA

Views: 11,352

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Id: K1Supb-uR7U

Length: 11min 22sec (682 seconds)

Published: Fri Sep 03 2021