To see details of all works, please visit the artworks page

 

 

all work and photographs © Rosie Carr

Rosie Carr

  • About the artist

    Education:

    2015 - 2017 - MA Fine Art Media, Distinction. Slade School of Fine Art, London

    2009 - Erasmus, The Hochschule für Grafik und Buchkunst, Leipzig

    2007 - 2010 - BA Hons Fine Art Painting, 1st Class. Camberwell College of Art

     

    For a full CV with exhibitions and awards, please visit the artist's website.

  • Artist statement

    “I continued to look at the flowers, and in their living light I seemed to detect the qualitative equivalent of breathing – but of breathing without returns to a starting point, with no recurrent ebbs but only a repeated flow from beauty to recurrent beauty, from deeper to even deeper meaning.”

    – Aldous Huxley

     

    I see filmmaking as a way to plot and reveal idiosyncratic connections between myself, the artistic process, and the objects around me. Sometimes the most interesting germ of information is the thing in the background, the one next-door, hovering on the periphery. My approach to filmmaking could be boiled down to the process of researching a specific library book, and then glimpsing its infinitely more fascinating neighbour on the shelf, and taking that home instead.  

     

    I am currently interested in the deployment of psychedelic imagery in the moving image –inanimate objects that glow, speak, breathe, as a method of contemplating an idea of ‘is-ness’ described in Aldous Huxley’s essay “The Doors of Perception” and also as a way of referencing cinematic history. Film as a material. Structural/materialist film, and the concept of ‘cinematic magic’.

     

    I use storytelling in the moving image as a method of stimulating inanimate or inaccessible objects. When I say ‘object’ I refer to furniture, paintings and objet d’art - but also to ideas and places, such as politics, archives, sounds, feelings, words. I am currently considering the filmic potential of the ‘invisible’ 4th dimension: time -  particularly in relation to Timothy Morton’s analysis that: “Perhaps the problem is we are trying to look at objects with 4 dimensions in a 3 dimensional world.” It seems pertinent to explore the relationship between objects and time through the moving image; an intrinsically time based medium.

     

    I want to extrapolate information from ‘objects’ in order to make sense of them in unexpected ways. In my practice I interlace fiction and reality, across video, 16mm film, installation and text. There is a jarring clash of feelings and intellect, the potentially awkward meeting of mainstream and counter culture. I’m fascinated by the storage of information and artifacts in museum collections, and the potential access / non access these institutions provide. How do we enliven these materials, making the information therein useful and relevant? How do we navigate a relationship with hierarchical objects and elitist systems – for example in a National Museum setting - where the concepts of ‘ownership’ ‘access’ and ‘display’ can be complex and misleading?

  • Links

    Artist website: www.rosiecarr.co.uk

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