Rosemary Goodenough is a painter and sculptor. She works in the contemporary impressionist tradition, painting with knives, cloths and her hands on panel or board. Her work is collected internationally and held in private collections in Geneva, New York, Tennessee, Boston, Cape Town, Paris, Glasgow, Edinburgh, Norfolk and Northamptonshire amongst other places. She lives in Norfolk with her husband Michael Waller-Bridge.
2022, Two Ways of Seeing, Gallery East, Suffolk
2014 - 2019 Rosemary Goodenough Brand at London Fashion Week
Wolf and Badger Window display, Mayfair London
2013, Rosemary Goodenough Brand at the Saatchi Gallery, London
SCOOP International Fashion Show
2012, BT ArtBox for ChildLine – ‘About A Child’ NSPCC HQ
2011, Wildwood Gallery, Suffolk
The Wicken Vineyard, Suffolk
2010, Art at the Park, Suffolk
Highwayman’s Gallery, Suffolk
2007, Dio Arts Launch - Auckland, New Zealand
2006, Eurostar Concourse London - 'Aphrodite's Battlewagon' an ArtCar for Vauxhall's Exhibit V in association with Magic FM and Visit London
Galerie Landertinger Wagner, Salzburg, Austria
The Arts Club, Dover Street, London, Berlin, Milan and Barcelona for Visit London
2005, Ryder Street Gallery, London
Home House, London
Spectrum Fine Art, London
2003, A & D Gallery London
Biennale Internazionale Dell'Arte Contemporanea, Florence
2001, Dauntons, London
International Notting Hill Arts Exhibition
London ING Barings London
2000, La Brocca, London
Cafe Royal, London,
The City Gallery London,
ING Barings London,
Merchant Company Hall, Edinburgh
Millennium Year Resident Artist for the Green Gallery, Stirlingshire, Scotland
1999, Pollyanna Gallery, Barnsley
UK Royal Scottish Academy, Edinburgh
ING Barings, London
1998, Ozten Zeki Gallery, Walton Street London
Savoy Hotel London
Lux Centre, Hoxton Square London.
In 2015 Rosemary was invited by Rolls Royce to join their Ambassador Programme
2004 Guest Art Editor, Archidom Magazine, Moscow.
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‘Every Mark is a Decision’ As an Artist I am viscerally aware of the straight-line connection between me and the Artists who made their Marks with such verve on the walls of the Chauvet Caves approximately 35,000 years ago. We don't know their names, gender or motivations but the drive and passion to make Marks is a primitive and inescapable human need and this straight-line connection between Artists across millennia will never be broken. Being part of a link in this past and future chain is fundamental to my life as an Artist.
My father was passionately interested in paintings and I will always be grateful to him for teaching me how to look at a painting in great detail and it has informed how I work as there is a great deal more to painting than the making of marks. Looking is incredibly important. People always ask how long it takes to make a painting and the first answer is ‘a lifetime’ and the next answer varies from painting to painting. As an example of this process of looking, there was a painting I was pleased with but knew something was wrong. I put it on a spare easel in my studio and kept glancing at it and 8 months later I realised that I didn’t need to add to it: it needed to have something removed. I grabbed a palette knife, removed the "offending" marks and the painting was finished! Proof to me at least that painting involves a lot of looking, not always doing.
I’m particularly interested in the Japanese concept of ‘Ma’ which I understand is to do with absence of activity so for example in music it is the silence between the sounds, in painting it’s the unfilled space that leaves the viewer able to use their own imagination. To me the negative space is as important as the positive space and in my paintings and drawings, every mark is a decision and every decision to not make a mark is absolutely critical to the final piece.
Rosemary Goodenough Norfolk May 2022