‘Common Hours’ with Rosie McGuinness…

Artist and textile print designer Rosie McGuinness was our Spring Artist in Residence this year. We caught up with her following the launch of her solo exhibition in the gallery to delve a little deeper into the work.

Could you tell us a bit about what inspired this collection of work?

The time spent on residency with This House coincided with the start of a hot spring. The flowers had all suddenly come out, neon yellow cowslips everywhere, the grass was bright and strong against clear blue skies. It was an almost surreally peaceful, idyllic, vivid time spent exploring the local area, walking over the commons, collecting leaves and flowers to draw from - later working away in the calm of the cottage. The quiet and solitude were welcome while also being a bit of a challenge. The landscape, light, and colours were fantastic. While working on the series of paintings for the show I tried to keep those days, surroundings, colours, and feelings in mind. 

How do you find references for your figures? You mentioned life drawing before - is this something that informs your work? 

I’ve done a lot of life drawing, but can find it all a bit posed. A lot is just people observed and admired out and about, sometimes snapped on my phone, in films, collected images and memories, then documented, sometimes only in a detail, in a drawing. I like seeing the way someone holds their bag, does up their shoe, folds their arms, gets dressed, undressed, etc 

Have you found that your background in womenswear has fed into your work over the years? 

I wasn’t very good or patient with the technical / construction side of things at college, but always loved the research projects, the drawing and designing. 

I guess it all feeds in - I learnt how clothes work around the body, and I love and admire textiles, clothing, how people wear an outfit and go about their day in them. 

Could you talk a bit about your paper and paints/materials choices - you have a wonderful collection of different types of paper and this seems to be a key part of how the paint behaves. Where do you source your materials and do you have any favourites? 

I walk from my flat to the studio in SE London via Deptford Market (Wednesdays Fridays and Saturdays), which is an endless source of stuff, materials, and inspiration. 

There are house/office clearance stalls where I often find stacks of lovely old papers, as well as bits and pieces, and fabrics to admire and draw from. 

What made you decide to create the scarves for this show? Was this something you had been toying with for a while? 

After learning about the history of the textile mills and industry around Stroud, I thought some textiles would be a nice addition to the show, with designs inspired by time spent in the local countryside. 

I had bought a beautiful printed vintage scarf at a shop while in Stroud, and so decided to tie it all together. 

How did you find the screen printing process? Have you done much printmaking before? 

I worked with the brilliant Greta Haga at First Floor Studios in Bermondsey to produce the screen prints. 

We worked against the extreme heat over the summer, with inks drying instantly. But with her persistence and technical skills, often working on into the cooler evenings, we got there. I’m really happy with the results. 

The hems were then roll-stitched by hand while I watched the football, or sat in the local park when the sun wasn’t too much. Generally, I like more instant results without too much process, so I tend towards mono-printing, but I’d like to explore more printing techniques. 

How do you feel as a creative sitting between practices, you are an illustrator but also an artist and designer - is there a balance to working in these different areas?

I like doing a bit of each. I’d love to work on more textile projects, I also like working to a brief and seeing a project through from ideas to application, and also just doing my own bits and pieces and personal work, but they all feed into one another.

What are some things you would like people to feel or think in response to your work? 

I guess an appreciation of observation and a moment in time. 

What drew you to apply for the residency at This House? Can you tell us a bit about the headspace you were in and what you were hoping to achieve? 

I liked what the gallery was doing and just thought it all sounded great. I’d not done a residency before and so was interested to see if a new space, a different environment, and focused time would be productive. It was a bit daunting at first, pressure on yourself (not from the gallery) to produce, but I got into a stride and the time and experience has really stayed with me.