BUCO NERO (Black Hole)

BUCO NERO (Black Hole)

  BUCO NERO Single Plate Photopolymer Intaglio Print onto 100%cotton textile. 207 x 270 mm August 2015 The details of a photograph have been manipulated digitally creating a constellation of dots around the black centre – pupil or black hole?.   The uncanny quality of this image lies in the uncertainty

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SPENT

SPENT

The spent matches in these prints stand (or fall) for the nearly two thousand days since the beginning of the Syrian uprising on 15th March 2011; since then there have been many days spent in suffering for the people of Syria.  This body of work represents both the days passed

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CHROMATIC

CHROMATIC

  I have never been all that bothered with colour.  As a printmaker I have been obsessed with achieving good, opaque and solid blacks – get two printmakers together and they’ll spend most of their time discussing the relative values of the black parts of their works. But recently a

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Egg Head

Egg Head

Cast Crystal Sculpture 15cms x 19cms Influenced by the Easter Island heads, this rather more domestic scaled piece exploits the ability of glass to trap elements and free them within the illusion of space made solid. Glass is transparent, you can see through it, it almost isn’t there.  However this

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SIMULACRUM

SIMULACRUM

  SIMULACRUM I Double-Plate Polymer Etching 280 x 380 mm August 2015 …… “Whatever Photography grants to vision and whatever its manner, a photograph is always invisible:  it is not it that we see.”   .                            

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Buco Nero

Buco Nero

  BUCO NERO [BLACK HOLE]      –       JUNE 2015      – 20 x 27 cms      –      Polymer etching onto Plain Weave Cotton Fabric

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Dis Miss

Dis Miss

  DIS MISS  –   June 2015  –  89 x 103 cms  – Six A3 Photopolymer Relief Prints, Charcoal Drawing, Plywood, Paint, Gypsum Board and Paper. “When making this work I was thinking about the relationship we have with our bodies and how some people are unable to see their

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Recollecting & Forgetting 2

Recollecting & Forgetting 2

12 Single Plate Polymer Etchings – each 20 x 27cms. This work explores the photograph’s connection to time and to memory; and it seeks to show how this aspect of the medium makes it both fascinating and potentially uncanny. A photograph authenticates a person’s existence, because, as Roland Barthes says,

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BESPOKE MEMORY PRINTS – FACES

BESPOKE MEMORY PRINTS – FACES

Recently I have been working on a new commission.  I provide a service for clients who want an artwork that encapsulates key parts of the character of a loved-one, as a personal momento or as a gift. We discuss and sift through a staggeringly large array of photos, certificates, maps,

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Recollecting & Forgetting

Recollecting & Forgetting

       Recollecting & Forgetting  20 x 27 cms Three-plate etchings onto Somerset Paper  “the power of authentication in the photograph exceeds the power of representation”. For me it is the connection to time and memory that makes photographs interesting and potentially uncanny.   These photographs are of my grandparents,

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ZERO STATE

ZERO STATE

                                                                                                   INTERFACE #4

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Faience Scarab

Faience Scarab

Faience Scarab   – August 2013     –     135 x 48.5cms      –      Clay, Paint, MDF, Paper, Print      – The term faience comes from a kind of brightly-coloured glazed earthenware developed during the Renaissance. The word is derived from Faenza, a town

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LIVING ROOM

LIVING ROOM

LIVING ROOM   – CAST LEAD CRYSTAL GLASS INSTALLATION 20ft³  –   2002   – Sheila de Rosa seeks to explore the contradiction between the outer shell and the inner experience; between societal presentation as ‘woman’ and the intimate, internal experience of being a woman.  She is curious about our inner

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F://LITE

F://LITE

F://Lite IV    – 27 x 13 cms    –   Double Plate Solar Plate Etching   –    September 2010     – These pieces came into existence as a direct response to the cabinets at The Natural History Museum, Tring that line the walls of the central ground

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SOMEBODY

SOMEBODY

SOMEBODY July 1998    –    8ft³ space    – 13 photo-etchings onto Handmade Nepalese Paper    – Awarded Best Overall Achievement at Degree Assessment    –     These photo-etchings use the human body as source. They explores the boundary that is our body, the boundary between self and other.

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STATES OF CONTRADICTION

STATES OF CONTRADICTION

 STATES OF CONTRADICTION  I    – Screen printed and slumped lead glass   –    approx. 48 x 60 cms   –   2004    –     In States of Contradiction three screen-printed and slumped glass works weave text and image in a warp and weft of what is

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DITLOG

DITLOG

–    A Day in the Life of Grovehill       –        2005        – A Community Photographic Project        – In 2005 Sheila de Rosa  devised and organised a community photographic project, ‘A Day in the Life of Grovehill’ which involved

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COMMISSIONS

COMMISSIONS

AKE MAN    – Commission for The Akeman Bar, Akeman Street, Tring, Herts.    – 114 x 167 cms    –     Digital Print onto 10mm Acrylic Sheet    –    2008    – ——————————  MORE COMMISSIONS    – THE FALCON HOTEL, Market Place, Rutland, LE15 9PY  www.falcon-hotel.co.uk  Six

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ABOUT FACE : I – VII

ABOUT FACE : I – VII

About Face VIII   –   Hand Drawn Solar Plate Relief Print   –   20 x 27 cms   –   February 2012    – In the fertile chaos and proliferation of our image-saturated culture and against a back-drop of the media’s obsession with unattainable male & female beauty, these ‘photo-drawings’ aim

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GLASS ETCH

GLASS ETCH

Glass Etch    –    September 2001    –    42 x 20 cms    – Intaglio Type Photo Etchings

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PHOTOGRAMS

PHOTOGRAMS

Photogram I    –    120 x 77.5 cms     –   Digital print onto 300 gsm paper   –   2001 GLASS PHOTOGRAMS   –    2001    –   A line of enquiry was followed in which soda glass was placed over a dry plaster/quartz mixture and fired at a

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CROSS REFERENCES 1 – 14

CROSS REFERENCES 1 – 14

CROSS REFERENCES: 1 – 14 is a body of fourteen works that were produced for Brighton Festival Fringe in 2003.  These photo-etchings are a response to the fourteen Stations of the Cross that appear generally in Catholic Churches and in particular in St. Thomas More’s Church in Patcham, Brighton.  The church

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HAND OUT GLOVE

HAND OUT GLOVE

    HAND OUT GLOVE   Monotype print, silver on black, MDF board   –   05.2 x 31.5 x 15 cms    –    August 2013    –  A latex glove has been rolled with silver ink and printed onto fourteen sheets of black card and arranged onto a box-shaped frame

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MALOCCHIO

MALOCCHIO

  Malocchio        –        40.5 x 30 cms          – Wrinkled Intaglio Type Photo-Etching        –       March – July 2000        – This print forms parts of a group of prints produced at The University of

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CRITICAL DESIGN

CRITICAL DESIGN

  CRITICAL DESIGN    – September 2012    –    Three Prints.  Each 13 x 18cms    – Photo etching + Chine Collé    – Critical Design focuses on studying the impact and possible consequences of new technologies and policies, and of worldwide social and environmental trends, as well as on

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Cognitive Bias Reconfiguration

Cognitive Bias Reconfiguration

  COGNITIVE BIAS RECONFIGURATION    – July 2013    –    148 x 95 cms    – Relief prints, Nepalese paper, card, plastic fishing line    – A cognitive bias is a pattern of deviation in judgement, whereby inferences of other people and situations may be drawn in an illogical

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Sandpaper Suit

Sandpaper Suit

 SANDPAPER SUIT        –        March 2008        –         41 x 28 cms        – Solar Plate Print with Surface Sand Application        – Commission for HAMISH PRINGLE    –    Strategic Advisor at 23red  

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Fucus vesiculosis

Fucus vesiculosis

 Fucus vesiculosis   (Bladder Wrack)        –        July 2012        – Each print 13 x 18 cms        –        Hand drawn Solar Plate etchings        – These prints were created using a Solar Plate print technique.  The

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UNTEXT ME

UNTEXT ME

UNTEXT  ME       –        July 2013        – This work explores the idea of paper as a sculptural medium, freed from any connection to the written word. Paper pulp has been used to take an impression of leaves, flowers and grasses.  When set the

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EXPERIMENTAL WORK

EXPERIMENTAL WORK

                       Drawn Relief  Print with a Laser Raster engraved (1 bit B&W dithered) surface detail [November 2013]    –   Laser Raster engraved (1 bit B&W dithered) onto coated card  [November 2013]    –           Laser Raster

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