Rose finn kelcey biography samples
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Rose Finn-Kelcey
British artist
Rose Finn-Kelcey (4 March 1945 – 13 February 2014) was a British artist, born in Northampton. Finn-Kelcey grew up in Buckinghamshire as part of a large farming family, and went on to study at Ravensbourne College of Art and Design, and later Chelsea College of Art in London. She died on 13 February 2014 of motor neurone disease.[2] She lived and worked in London from 1968.[3]
Finn-Kelcey worked in a variety of media including performance, video, sound, installation, sculpture, photography, papercut and posters.
Early work
[edit]Finn-Kelcey's work in the late 1960s and 1970s emerged alongside that of increasing numbers of artists concerned with formal experimentation and conceptual practices. Several of the early works consisted of making and flying flags in publicly visible spaces, as in Power for the People (1972). In this piece, Finn-Kelcey made large flags from silver tissue and black bunting bearing the slogan 'POWER FOR THE PEOPLE', which were hung from Battersea Power Station in London. Commissioned by the Central Electricity Generating Board, the flags were removed due to complaints from Chelsea residents across the river.[3]
Finn-Kelcey's work, like that of many artists she shared gallery spac
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Artist Profile: Rose Finn-Kelcey
Rose Finn-Kelcey’s work stages material collisions that pose universal problems. In her early work this often concerned the disparities between being a woman and being an artist, in her later work she expanded her questioning to broader, humanist problems like the difference between monetary and aesthetic value, or the sacred and the profane.
God’s Bog (2001)very much engages with the latter, this jesmonite sculpture combines an enlarged shell with a toilet. The two have merged together as if mutated. The toilet’s smooth, pristine white is made beautiful by becoming shell-like, and vice versa, the curving form of the shell is disfigured and made abject by the toilet form and its scatological associations. Perhaps the sculpture reminds us of the impact of our civilised society on the natural world, or perhaps the suturing of the two elements, reminds us of our connectedness to the world at the most basic level.
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Rose Finn-Kelcey
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