UNKNOWABLE BODIES – LABIAE 15 works – 19cms diameter Eco Print & Monoprint                 This series of prints explores the naturally occurring cyclical repetition of nature and women’s bodies; and why they seem problematic to the patriarchy which continues to suppress and defile

                 SOLO EXHIBITION at Artsmeet in Watersmeet Theatre, Rickmansworth   The Art of Coexistence Since moving to Marsworth, over forty years ago, Sheila has been pursuing her career in the visual arts. During Lockdown she was lucky enough to have a studio in a local field where

SYNTHESIS REPORT 90 x 90cms September 2023 Leaves, petals, heat and water – with these simple ingredients I collaborate with nature to create prints which echo the originals, these are called Eco Printing. These ‘boil-ups’, revealing the true colours and patterns of nature, became important to me at the start

    UPON REFLECTION W 45 x H 25 cms Eco Prints with Intaglio Photogravure overprint (from the Hybrid Collection) This image celebrates and relates to the beauty and fragility of the world. Eco Printing is a method of direct physical contact with nature, and collaborates with plants to create

  PIER UNDER  Image size: H 17 x W 38 Hand Drawn Photogravure Print with Chine Colle and Gilding A love of Line is common among many printmakers and Lines are phenomena in themselves.  They are really there, in us and around us.  They are all around us and the

SWIMMING TO THE SURFACE  Image Size: W 29.5 x H 40 cms Double Intaglio Photogravure print with Gelli Plate Collage   This print was influenced by a place near my studio where a 15C tower stands, isolated, in a graveyard at the end of a cul-de-sac. Discovering that this was

      Lockdown Houses 2020   During the first phase of Lockdown I experienced a new feeling – being in nature.  I was born in the City of London and had a healthy disrespect for the countryside – but I live in a little Buckinghamshire village replete with a canal and

  THE BENIGN INDIFFERENCE OF NATURE 2021/2022 “I laid myself open to the benign indifference of the universe.” – Albert Camus. Nature’s cycles and systems conduct their magnificent self-organisation according to their own rhythms and methods, not ours.  They will continue their existence whether they share this planet with us,

LIGHTHOUSES THE LONG AND THE SHORT OF IT Paper-Litho with Monoprint layers H 41 cms  x W 22 cms   March 2020 – May 2021 (Walks around Tringford Reservoir, during Lockdown, with only my Shadow for company) “When you light a candle, you also cast a shadow.” ― Ursula K. Le

    Leaves, petals, heat and water – with these simple ingredients I have begun to make beautiful images that connect with the natural world around me. I have ended up with unique eco-prints that reflect the land around me as well as the choices of my own hands and

These Hybrid Prints are made using a method of mixing a traditional photogravure etching onto a base of colour made with a painted pattern using Wild Ink made in the studio.       Hybrid Print No. 1    Das Heimlich 30 X 21 cms This larger, framed print called

WILD INK PRINTING   Small 9 x 9 cms prints onto Fabriano Artistico cotton rag paper made using a process that uses natural ingredients to release their innate colours. During lockdown nature has had a significant influence on my studio work. Especially important and engrossing for me, has been making

  BURNING ISSUE I March 2020 Approx 42 x 30 cms   An experience of a wildfire in Italy stoked awareness of the Bush Fires disasters worldwide.  Burning cotton rag paper – whilst contra intuitive – seemed a clear metaphor for this terrible natural disaster and created a pleasing uneven

    ESCAPE ROOM Kristeva celebrates monumental time as a massive presence that is all-encompassing and infinite like imaginary space and virtual reality¹. Based on Anthony Gormley’s work ‘Cave’, this print asks questions about what it means to be conscious and evokes an ‘uncanny sublime’ aesthetic offering imaginative escape. The

  LINEAGE Julia Kristeva’s essay ‘Women’s Time’ sets out to explore the way in which the feminist movement both ‘inherits and modifies’ a certain conception of time¹. The common idea of time is linear like history and language, masculine, phallocentric, progressive and sequential. Cropped and taken out of context these

This print inherits and modifies Julia Kristeva’s writing about Time from the perspective of motherhood and reproduction. This work explores Cyclical time and its biological rhythm made visible by the changing seasons. This double-plate photogravure with random monoprint layers is a celebration through shape, shadow, colour and seasonal abundance juxtaposed

CHIMAERA A large scale Print Installation November 2018     CHIMAERA “I stick on eyes I peel off ears I cut off fingers I rip off a breast This is my law of exchange I prune it I quarter it Into choice and cheaper cuts I dismember it I apportion

FLAWED I (or measuring up!) Large format Print Mixed media – photogravure/monoprint/ghost print/chine colle 84 x 35 cms A new print (July 2019) that has been inspired by my previous Print installation called Diss Miss. Here examined is a stomach which has too much fat compared to the flat stomach

    LINES OF LOSS 2 January 2019 20 x 30 cms LINES OF LOSS series explores memory and postmemory. This is a Double plate Print. Plate one is a traditional sugar-lift etching and the coloured plate is a photo etching, Plate one – is a traditional sugar-lift etching. The

WITHER & PERISH III 21 x 15 cms Double Plate Photo etching onto 280 gsm Cotton Rag Paper   Using dead weeds and leaves that have turned skeletal, this body of work is called Wither & Perish and it explores notions related to  the  cyclical and impermanent nature of life.

BROKEN Twelve 22cm plates paying homage to the Japanese art of Kintsugi. Exhibited at The Open Door Gallery, Berkhamsted 8 – 18th May 2018 This technique creates works of art, each with its own story and beauty, thanks to the pattern of cracks formed when the object broke – much like

                       CELLS Ten Archi-Frames with Solar Plate Prints depicting parts of photos found in a Brighton flea market. Exhibited at MENTAL an exhibition designed to highlight Mental Health  issues and celebrate Mental Health Awareness Week – May 2018 at The Open Door Gallery, Berkhamsted, Hertfordshire  

  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

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

  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

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

  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.”   .                            

  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

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,

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,

       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,

                                                                                                   INTERFACE #4

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

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

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

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.

 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

–    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

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

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

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

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

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

    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

  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

  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

  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

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

 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

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

                       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