Rosa Gally (she/her)
My practise is a visual exploration into the language of crafting and its material make up. Using a variety of tactile practises, I investigate the physical presence of domestic objects and their inherent connection to human use. Engaging with materials including fabric, clay, wood and metal, my work often materialises as large sculptural installations or smaller resolved pieces. By displaying in both formal art and domestic settings, I then examine how the context of their display can change the works function or perceived use. My works material presence questions the value placed on our surroundings and signals towards a more sustainable future.
FAILING TO SERVE, 2022
Scrap wood, scrap fabric swatches, ceramics, aluminium, cement, pewter and half a broken chair.
Failing to serve looks to highlight the inherent contradiction when displaying functional objects in a gallery setting. Both scenes revolve around the items present, which collectively serve their absent owner to fulfil a single action. Each element’s visual outcome has been dictated by its function however, inevitably as art objects, their end result leans more to their outwards appearance. What might be recognised as an imperfection from a craft perspective, may add to the object’s success in art setting.
Craft is an essential part of the exhibit. The time, money and material used all inform the process of making, therefore dictating the character of each object. This relationship allows the ‘mistakes’ to become integral to the work.
An everyday object’s worth is often neglected, both in art and domestic spaces. It is hard to value that which we view as solely something to serve us, too often knowing very little about its making or previous activity. Through focusing on functional items, I hope to highlight their significance. Providing a greater appreciation and understanding of the material things that make up our lives is an essential step towards a brighter ecological future.
Failing to serve questions what an object’s purpose is in life. Is it its intended single function, assigned at making, or does it change depending on the setting and the other objects around it? Does function reside within the object itself or does it belong within the user’s interaction with it? This holds a parallel to art objects in general. Is the meaning of an artwork static and decided by the maker or is it dynamic and determined by each person who views it?
Little Pockets of Care, 2021/2022
On Saturday the 5th of February 2022, 22 participants gathered in a gallery. The walls laid almost bare, with only the names of those present scattered care-fully around. The event gathered all the garments I had mended since the end of September, mending them for free, with the attendance of this event as the only payment. The gathering sought to pose questions around ownership, worth and the functionality of art, while simultaneously opening up conversations about care, compassion and sustainability through the simple act of giving.
As Glasgow Cracks, 2021-current
Ongoing projects connecting Glasgow through areas of damage
A4 prints available on request – £12
Disrepair 2022
Digital drawings collating my strands of research around mending, damage and repair.
A4 prints available on request – £12
