I live in Bristol, UK, and work from Top Floor Studios, Spike Island, Bristol. 

You can contact me
either using the contact form on this website, or email
maggieroyle@talktalk.net

Link to Axis - the online resource for contemporary art  

http://www.axisweb.org/seCVPG.aspx?ARTISTID=13730

 

CV

EDUCATION

2006 - 2008  Bath Spa University, MA Fine Art
1986 - 1990 Bristol Polytechnic  B.Ed (Hons) Art

RECENT EXHIBITIONS

2017    ‘Pay and Display’, Centrespace, Bristol
2016    164 RWA Annual Open Exhibition, Bristol
2016    Black Swan Arts Open 2016, Frome
2016    Spike Open, Bristol

2015      RWA 163 Annual Open Exhibition, Bristol

2015     'Love and Death', Walcot Chapel, Bath

2015     Spike Open, Bristol

2015     Lynn Painter-Stainers exhibition, The Mall Galleries, London

2014     The Discerning Eye, The Mall Galleries, London. Invited artist

2014      162 RWA Annual Open Exhibition, Bristol

2014      Wells Art Contemporary, Wells, Somerset

2014      'Los azulejos - a tale that can't be told' (solo show), Exeter Phoenix,  Exeter

2014      'Paint like you mean it' (catalogue), Interview Room 11, Edinburgh

2014     Spike Open, Bristol

2013     'Tumbleweed'   The Searchers Contemporary, Bristol

2013     'What is art to an artist?,  Test Space, Spike Island, Bristol 

2013     Spike Island Open, Bristol 

2012     'Objects of Desire' Centrespace Gallery and The Searchers Contemporary gallery, Bristol

2012     Bristol Diving School Curatorial Exercise #1, Test Space, Spike Island, Bristol 

2012     6 x 4 Motorcade Flashparade, Bristol

2011     'No.1: Paint' , Blankspace, Manchester

2011     'Mending Broken Hearts',  Wetpaint Gallery, Cirencester

2010     Fringe MK Painting Prize 2010 (catalogue)

2010     Spike Open Studios, Bristol

2009     6 @ The Octagon, Bath Fringe Festival, Bath

2009     Spike Open Studios, Bristol

2009     MA and other postgraduates, Atkinson Gallery, Millfield School, Somerset

2008    Bath Spa Masters of Fine Art degree show
2008    Bath Spa Masters Interim exhibition
            Spike Open, Spike Island Bristol
2007    Exeter Contemporary Open,  Exeter Phoenix
            Spike Open,  Spike Island Bristol
2005    'Sketch' Rabley Contemporary Drawing Centre, 77 Contemporary Art, London
             Spike Open 2005
             Gallery 58, Northampton
2004    Affordable Art Fair, London
             RWA 151st Autumn Exhibition
             Gallery 58, Northampton
             Waytemore Art Gallery, Bishops Stortford
              Spike Open      


COLLECTIONS

Bath School of Art and Design, Bath Spa University

PRIZES

2000 Royal West of England Academy, Bristol , 148th Autumn Exhibition - prizewinner

OTHER

2011 Motorcade/FlashParade, Bristol, Open Painting Competition, Selector

 


Artist's statement                                 April 2013   (see individual pages for relevant statements)

 

'I don't believe in the absolute picture.  There can only be approximations, experiments and beginnings, over and over again.'  Gerhard Richter

 

I make paintings  which take imagery from art historical and contemporary sources; alongside these I make abstract paintings.

My recent paintings ('Los azulejos' series and 'We may not be here tomorrow' series) make reference to Mexican sources, for example, photographs taken in Guadalajara.

'Los azulejos - a tale that can't be told'

September 2010: M moves to Mexico. I want to make work which articulates my response, but it seems just out of my grasp. In my understanding of the situation there is a blurring between the real and the imagined; between daytime and nocturnal thoughts and between past, present and future events.

The stories in the news are mainly negative ; I become fascinated (attracted/ repulsed) by these places; searching out a version of reality from the virtual safety of Google street view, looking for the surprise of beauty, the strange or the sinister, screened through the veneer of the banal.

The use of pattern and decoration become a way of confronting, organising and analysing my concerns while intuition and telepathy play key roles in the choice and treatment of the subject.

 

 

STATEMENT  (this relates to work made 2007-2010 - see individual web pages for  more information about the work)

'If you want to surprise yourself in painting, the obvious choice is to take things that you would normally not bother with and give them a try.'

 Albert Oehlen, interview with Jorg Heiser and Jan Verwoert, Frieze Magazine, October 2003

My paintings have developed from an interest in secondary characters that are depicted within Old Master paintings.  These peripheral figures often follow their own agenda, gently subverting the main events of the painting; characters absorbed in various kinds of activities are captured in a fleeting moment of narrative uncertainty.

When removed from their original setting and re-contextualized in a contemporary scene, the figures play a new role; this context tends to be a suggestion of a contemporary setting, for example, a waste-ground, or the view from a hotel window.   The insignificant character from the earlier painting is displaced to become the main protagonist in this new work.

The painting 'Some things we just do well enough - onlookers' appropriates bystanders from 'The Story of Patient Griselda' who become somewhat disdainful figures in front of Britney Spears' house; their poses suggestive of contemporary fashion models, are they are passing judgment on the suitability of Griselda/ Britney as a mother?

My recent work has seen a development of this premise; contemporary marginalised people are placed in an art historical context.  These peripheral characters become key players in a new, constructed narrative.  This reworking of an image offers scope for interpretations.  In the painting 'Raised on promises' the 'teen mom' finds herself in a landscape taken from a painting by Raphael; the woman who is often derided now has echoes of a Madonna in a Renaissance landscape.

The content of the work is important but within these parameters I am interested exploring the play between abstraction and figuration and in experimenting with the physicality and unpredictability of oil paint.   My work has something in common with figurative painters who appropriate secondary source material and whose work hovers between abstraction and figuration, for example Peter Doig and Wilhelm Sasnal.  Bonnard is influential in his constant reminder that painting is colour on a flat plane; his disquieting paintings evolving into a type of abstraction.


Source material

'Being good isn't always easy'     'The Entombment' 1500-01, Michelangelo, National Gallery, London


'Who knows which is which - after Cagnacci'     'Jacob Peeling the Rods' 1650, Guido Cagnacci, Royal Collection, London

'Ain't got no excuses'     'Netherlandish Proverbs' 1559, Pieter  Bruegel the Elder, Gemaldegalerie, Berlin


'I know I'll see your face again - Venus'     'Venus of Urbino' 1538, Titian
        Uffizi Gallery, Florence


'A hiding place where no one ever goes - Venus'            ditto



Untitled -'Scorn'    'An Allegory of Love II, (Scorn)'  1570s, Veronese,  National Gallery, London


'What you get is no tomorrow - onlookers'     'The Story of Patient Griselda, Part II' 1493-1500 by the Master of the Story of Griselda, National Gallery, London


'Some things we just do well enough - onlookers'        ditto