Quack Quack
This richly illustrated publication accompanies Rose Wylie’s Serpentine Sackler Gallery exhibition Quack Quack, which includes paintings and works on paper dating from the late 1990s to the present day – some never previously exhibited. Wylie creates paintings of visually compelling images that she encounters on a day-to-day basis, finding inspiration in a variety of sources: personal memories, art history, contemporary cinema, sport, news and celebrity stories. Driven by a relentless curiosity and instilled with wit, her paintings propose new perspectives on the world and the plethora of images that make up our collective cultural memory.
Alongside plates of all paintings in the exhibition, this publication expands upon Wylie’s practice and presents images of additional paintings, works on paper and preparatory drawings from her new series based on Hyde Park. This catalogue features an introductory text by Curator Melissa Blanchflower. Writer Barry Schwabsky offers a dialogue on the nature and objectives of painting. Artists Tal R and Alvaro Barrington have written instinctive and poetic responses to Wylie’s unique approach to image and mark-making, whilst Lynette Yiadom-Boakye has contributed a fictional text in three parts set in Hyde Park, that loosely take images in Wylie’s paintings and their potential for narrative as touchstones. This book has been designed by Roland Brauchli.
Artist
Rose Wylie
Rose Wylie (b. 1934, UK) is a contemporary painter whose work only began to receive attention and critical acclaim late in her life. Wylie works on large-scale canvases using cartoonish, child-like imagery rendered in expressive marks, sometimes inspired by art history or pop culture such as movies and television. Wylie finds inspiration for her visually compelling paintings through her daily encounters and a variety of sources, from art history, cinema, comic books and the natural world to news, verbal anecdotes, celebrity stories and sport. These might include a scene from Quentin Tarantino’s iconic Kill Bill films, a self-portrait of Wylie eating a chocolate biscuit or a football match. Her vibrant, large-scale canvases filled the walls of the Serpentine North Gallery. Wylie often paints through the filter of memory and impression, using text to enhance facts and recollections and editing images by overlaying new pieces of canvas over images, like a collage. At times, the compositions of her paintings are informed by cinematic techniques, whether the multiple headshots of Sitting on a Bench with Border (Film Notes) 2008, based on Pedro Almodóvar’s 2006 film Volver, or Wylie’s two paintings from the 2005 film Syriana, which take in a panoramic and close-up shot of the same scene.
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