06.10.07 - 19.10.07
There is a fragility to these works that reminds me in a rather strange way of old photographic Victorian portraits. It is almost opposites attracting, bonded by a rather uneasing and haunting spirit.
In these paintings there is a character always present. Someone, that appears to be never quite willing or allowed to ever totally open up to the viewer. I cant help but feel we maybe looking at some form of self portraiture and this similarity of distance, silence and mystery is again reminiscent of the glare found in the eyes of these early boudoir portraits sitters who would have probably wished they could smile or speak to us but have been forced to hold back.
Although primarily the sternness found in these photographic portraits was largely due to the compulsory use of a brace placed at the neck holding the sitter still enough for the exposure to capture the moment in time what I like about Rosemary’s paintings is again the opposite balanced with the similarity. There is an uneasy tension that exists, almost as though any supporting brace that held her subject still has been removed and she has captured most poetically how they crumple and collapse to find their own space still within a controlled area, but yet they seem to fight composition perfectly. Like a puppet, or doll that exists but cannot speak to us.
- David Eustace