Artist

drawing, painting and text

CV


Education


*Falmouth University, 2015-2019.BA Fine Art: First Class Honours.

*Foundation Diploma in Art and Design: Distinction. 


Awards

*Barbara Webb Award, Gloucestershire Printmaking Cooperative, 2024

Residency taking place June-October 2024

*Best Dissertation Award, BA Fine Art, Falmouth University, 2019.


Residencies

*University of Gloucestershire Artist in Residence, Cheltenham, February-March 2024

Workshop, Artist Talk & Practical residency in the Illustration department, primarily utilising
printmaking facilities.


*Young artist residency at SVA, Stroud, May 2023

A two week residency open to the public, which culminated in a display of work.



Exhibitions


*Ourself-- behind ourself

Joint exhibition with Isobel Harper, SVA John Street Gallery, July 2024.



*Sprung 24 at Prema Arts Centre, Uley

Group exhibition



*“Odd Showers/ Vreemde Buien” exhibition at Ruskin Mill Gallery, Nailsworth, May 2022

Group exhibition with Charlie Ash, Sophie Mastenbroek and Kes Wilkie.



*“Earthly Bodies” exhibition at Cornish Bank, Falmouth, September 2021

Group exhibition alongside several artists with relationships to Cornwall, curated by Rosa James.



*“Separation, Alignment, Cohesion” exhibition at Laurel Project Space, Amsterdam, June 2020

Group exhibition with fellow studio holders at Laurel Project Space on the occasion of the studio’s
departure from Lauriergracht in the Jordaan.


*BA Fine Art Degree show at Falmouth University, Cornwall, May 2019


Other

Private tuition
I am currently offering in-person private tuition on a one-to-one basis, exploring drawing techniques and
assisting individuals with personal projects.


Daisyworld Magazine, March 2021-present: Editor
I proofread and edit texts for Daisyworld.

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Haunted House II; oil on glassine; May 2024
(photo by Emlyn Bainbridge)

Diaphanous dress of gold (frangible skull of an infant); coloured pencil on Japanese paper; March 2024

Haunted House I; oil on glassine; April 2024
(photo by Emlyn Bainbridge)

Young Artist Residency at SVA John Street; public display of work; May 2023

Dream drawings; pencil in sketchbook; January 2024

Haunted House III; oil on glassine; June 2024

Ink drawing & writing; 2022

Ourself--Behind Ourself - Installation view
Joint exhibition with Isobel Harper at SVA John Street Gallery

Painting on glass, resting on wooden frame; oil on glassine beneath

Written on the underside of the ice like messages

[...]2: Lisa Robertson undertook a project in which she visited sites in Paris that Eugene Atget, beginning in 1898, documented as photographs; at these sites she took sound recordings and later made an essay on noise and listening entitled Disquiet, also published in Nilling. She writes of: 

“…the expectant unknowability of an apparently passive poetics of reception. There is a psychic and physiological pleasure in the choice of a bodily immersion in the materiality of this uncontrollable outside that accompanies the time of a tensile listening. One becomes a subject in the barest sense: a contingent point of coordinated per-ception of and response to temporal specificity.”

The noise of Lisa Robertson’s specific location in the city feels related to another kind of noise attended to by the Shakers: spiritual noise, disturbances which shimmer, outspread in the internal-external atmos-phere. “Co-ordinated perception of and response to temporal specificity” could equally describe their visitations and their “apparently passive” reception of them. The Shaker women recorded their noise in lush sheets of visual-verbal gloss.
“Listening enmeshed me,” Lisa writes.

Some Shaker gift drawings are made up of what is referred to as “spirit writing”; a kind of visual glossolalia that manifests as a document of a noisy visitation — one without identifiable verbal content, but which can be identified as verbal-adjacent, or visual-verbal in form. Like the carpet page in the Book of Kells, the eight-circled cross, the wordlessness of these “spirit writings” offers a different kind of space to a viewer: a holding space, comm-odiousness; a field of marks ready to receive the eyes and interpretations of another. And at the same time as holding a viewer, it asks to be held: to be listened to, to be allowed to fall down noisily and in-determinately, upon the viewer’s shoulders (—ears —eyes).


(Experiences of intensity and noise in the multiple, in the mesh: phone calls, visual disturbances, eyes tracking / that’s what it taught me)




1: When I read Nilling for the first time a few years ago, everything changed. I would read it sat in the crook of a hairpin valley, on a bench that overlooks a field shaped like a diamond. When you walk around to the right, the field morphs, becomes a trapezoid. Becoming acquainted with the landscape of Stroud disrupted my sense of space and time. With each step you take, everything changes.

what it taught me,
to
listen deeply, That’s

[...]

Excerpt from text "Haunting as Relation", a text written individually, which was included in the collaborative publication Ourself--Behind Ourself

Ourself--Behind Ourself - Collaborative book
A publication containing collaborative and individual texts.

Ourself--Behind Ourself - Collaborative book (pages) 

I am an artist working in drawing, painting and text. I am interested in memory, dreams, landscape and modes of intimacy.

I also offer one-to-one sessions exploring intuitive drawing practices.


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I am currently based in Stroud, Gloucestershire and hold a studio at SVA. I have previously lived and studied in Cornwall and Amsterdam.


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Contact: 

Email: sophierosewright@icloud.com

Instagram: @sophierosewright