Professor Emma RoseProfessor
Emma Rose's research concerns the role of art in health and wellbeing underpinned by the theoretical lens of therapeutic landscapes, as it offers a means through which to conceptualise how particular spaces can contribute to an individual’s mental and physical wellbeing. Her research utilizes this concept to investigate the role of participatory arts interventions for groups marginalised by society. Recent projects have engaged with women refugees affected by gender-based violence, refugees who are survivors of torture, the ageing population, those living with dementia, and transgender people.
In 2018 she was awarded a British Academy/Leverhulme Small Grant: Art of Recovery: Migrating Landscapes Rose, E, (PI), Bingley, A. F., Lamb, K. (Co-Apps). Art of Recovery seeks to deepen understanding of ways in which participatory arts can contribute to mental health and recovery of migrants who fled extreme situations and experience trauma as a result.
She received funding for an ESRC funded 1+3 collaborative studentship for PhD research (2015-2019) in collaboration with Professor Christine Milligan (Department of Health Research) for the project titled: Assessing the health and wellbeing benefits of engagement in participatory arts activities for older people living with dementia.
Most recent publications:
Rose, E.E., and Bingley, A. F. (2017) Migrating art: A research design to support refugees' recovery from trauma - a pilot study, Design for Health, Taylor & Francis, DOI: 10.1080/24735132.2017.1386499. Published online, hard copy in December 2017
Rose, E.E., and Lonsdale, S.M. (2016) Painting place: re-imagining landscapes for older people's subjective wellbeing, Health and Place, 40, p. 58-65
Rose, E., Lonsdale, S. (2016). Hidden Identities: Concealed Dangers, Visual Art and Transgender Health and Wellbeing, International Journal of the Image, Vol 7, Issue 1.
Rose, E., (2012). Encountering place: A psychoanalytic approach for understanding how therapeutic landscapes benefit health and wellbeing, Health & Place, November 2012 Volume 18, number 6pp. 1381 – 1387, http://www.sciencedirect.com.ezproxy.lancs.ac.uk/science/journal/13538292/18
Rose, E., (2012). Mentalizing Therapeutic Landscapes: the Benefit for Mental Health, International Journal of the Image, Vol. 2., pp. 87-94.
Rose, E., Boynton, N. (2010). Landscapes in Time: a psychotherapeutic intervention, International Journal of the Image, Vol. 1., pp. 117-127.
2017 Southern, J., Rose, E.E., O’Keefe, L. Mobile Utopias: 13 Artists 12 Experiments. Exhibited throughout the duration of Mobile Utopias Conference, 2nd -5th November, Lancaster University.
Rose, E., Boynton, N., (2013). Ice, Cloud, Mirror, solo exhibition including paintings by John Ruskin curated by Emma Rose shown in context of her film a cinematic video installation, Mirror, by Rose and Boynton, Brantwood, Cumbria 18th April- 24th June. Rose, E., catalogue: Landscapes of Wellbeing. In: Rose, E., (Ed), Ice, Cloud, Mirror, pp. 1-30.
Rose, E., Boynton, N. (2012). Science Film Festival. Mirror, Boynton & Rose, 4’. New York, 8th – 16th November. Screened in New York Hall of Science, New York, USA, 10th November 2012.
Brooklyn Film Festival. Mirror, Brooklyn, New York, USA, 1st – 10th June. Indie-screen, 4th June 2012 Brooklyn Heights Cinema 9th June 2012.
Recent Conferences and seminars:
2018 Art of Recovery: Deterriatorialization and Transition, Ninth International Conference on the Image, Hong Kong Baptist University, Hong Kong, SAR. 3rd – 4th November (forthcoming).
2017 Migrant Imaginaries, Mobile Utopia Conference, Lancaster University, 2nd – 5th November. Initiator of Utopia and Place Panel (seven panellists and speakers). Migrant Imaginaries delivered within this panel. Friday 3rd November
2017 Migrating art: A research design to support refugees' recovery from trauma. Confluence of Health and Healing Symposium, Lancaster University, 14th March, in collaboration with Dr Amanda Bingley.
2017 Migrating art: A research design to support refugees' recovery from trauma. Centre for Mobilities Research Showcase, Lancaster University, 7th Februaary. Amanda Bingley, Annabelle Edwards, Jo . Online video.
2017 REF 2020: Maximising Impact across the University, a keynote lecture at Leeds Beckett University.
2016 The seventh International Conference on the Image, Liverpool John Moores University, Migrating art: Re-imagining landscapes to promote wellbeing for migrant populations. Professor Emma Rose (collaborators: Dr Amanda Bingley (DHR), Annabelle Edwards (DHR), Jo Gorner (LICA), Macarena Rioseco (LICA), Julia ZielkeEmma Rose in collaboration with (University of Liverpool).
2016 In What Ways Can Older People Challenge Loneliness? Our Big Society. Festival of Questions, The Lecture Theatre, The Storey. Saturday 6th February, 1.30-2.45pm, Denise Nardone, Prof Emma Rose, Andy Smith, Prof Katherine Froggatt.
2015 Creativity and connectivity: Exploring the impact of painting remembered landscapes on older people’s subjective wellbeing accepted forpresentation: THE IMAGE 2015, Sixth International Conference of The Image, 29th October to 30th October 2015, University of California at Berkeley, USA.
2015 Creativity and connectivity: Conference Presentation: Dementia Futures, Lancaster Town Hall, September 18th 2015.
Hidden Identities: Concealed Dangers, Visual Art and Transgender Health and Wellbeing Conference presentation. THE IMAGE 2014, Fifth International Conference on The Image, 29th October, 2014 to 30 October. Freie University of Berlin. Official Event Web Site: Click for official site of THE IMAGE 2014
2012 Therapeutic Landscapes and the Benefit for Mental Health. Health and Wellness Conference, The University Centre, Chicago, Illinois, USA,
2011 Mentalising Therapeutic Landscapes. International Conference of the Image, San Sebastian, Spain.
2010 Landscapes in Time: A Psychotherapeutic Intervention at the International Conference of the Image, University of California, Los Angeles, USA.
2010 Aesthetic decisions and sound design in the making of threshold at the Cinesonika conference and festival, School of Interactive Arts and Technology, Simon Fraser University, Vancouver, Canada.
Films produced in collaboration with Neil Boynton include: the video rush interrogates formal qualities of imagery, some derived from abstract painting. The flow of images, sometimes disrupted by memories, suggests the consciousness of a contemplative viewer preoccupied not only by what is seen but also by its structure or syntax. Informed by the optical effect produced by Bridget Riley in her black-and-white paintings, rush captures the movements of tree trunks, which, when filmed from a fast-moving car, produce a similar flickering, stroboscopic effect disorienting the eye and brain. The digital manipulations and animations create an innovative dialogue between digital and painterly abstraction and photographic realism, their boundaries and their interrelationship.
Projected at 8 x 3 metres it creates an immersive environment with stereo sound and was shown in solo shows in Croatia and Nottingham, in a group exhibition in London at Oxo Tower, and in Inspiration to Order, with a full colour catalogue ISBN: 09773967-7-0, at California State University Art Gallery, The Winchester Gallery, Southampton University, The Gallery, Wimbledon College of Art, and the Art Historians' Annual Conference at the University of Ulster. rush was selected for exhibition at the Egilsstaðir experimental video festival in Iceland and shortlisted for the Alcoa prize. It was also selected for the Short Film Experiment, Bolzano, Italy, and Videoformes Clermont-Ferrand, France. The solo exhibition in Krizic Roban Gallery in Croatia was reviewed in Vijenac, XV (349/350/351), 19.07.07., str.22 the premier independent Croatian culture arts weekly. The solo exhibition of rush at the Surface Gallery, Nottingham, was reviewed in UK Metro Associated newspapers LtD
The film skyWriting investigates how technological advances can be combined with visual and social aesthetic concerns in new and emotionally compelling ways. First, digital technology enables the use of multiple windows or frames of action in a single screen. skyWriting exploits this potential to create new relationships between familiar images: several frames of action depict a subject from different viewpoints to create a new experience, forcing the viewer into an insecure relationship where nothing is taken for granted, each vision cut by a window revealing another world. Second, photographs are morphed into abstract forms: stripes, trails and traces, exposing details and facets of the object not usually subject to scrutiny; the audio material supplements and extends these devices. Exploring the margins between abstraction and photography, the work invites the viewer to evaluate familiar images and narrative sequences in a new way.
Transmediale 05 provided a global critical forum for new media art. There were 9 conference sessions and 60 lectures. skyWriting was part of its permanent exhibition. Transmediale was sponsored by The Council of the German Culture Foundation and there were 66 reviews in newspapers, journals, radio and television programmes. After showing on The Big Screen, Manchester City Centre, Philips used skyWriting to advertise BBC public space broadcasting on Philips LED video screens. It was screened twice during the Korean video festival, selected from the best experimental films of Seoul Net Festival from worldwide submission on the basis of its exploration of new models of screen aesthetics with high production quality. It was screened alongside a lecture at IRCAM, Centre Pompidou Paris, and included in group exhibitions in Edinburgh and Galashiels receiving reviews in The Scotsman and The Herald,.
Emma Rose's paintings and drawings
Solo exhibitions of paintings and drawings in Birmingham, North Tyneside and Bath were the outcome of Rose's practical enquiry into the paradoxical territory between vernacular photography and schematic, geometrical shapes, the components of a wholly abstract image. The investigation explored the area defined by images that are unproblematically representational photographs at one extreme and images wholly composed of overtly abstract elements -- like circles, triangles and diamonds -- at the other. She traverses the territory between painting and photography afresh in the light of digital media and abstraction, observing the visual demands of representational photographs on the one hand, and abstract, optically abstract image components on the other. The result was to create new, dramatically contrasting and complex relationships between photographic, abstract and digital elements; geometrical figures, like triangles, alluding to other images within the work, like fir trees and mountains or pixellated imagery.
When shown with White-out, the projection of skyWriting occupying the whole gallery wall extends the investigation of the boundaries between abstraction and photographic imagery. Animated images echo the sense of movement conveyed by the grouping of geometrical shapes in the paintings. The transformations reveal connections between the way abstract images are seen and the relation of abstraction to the source; in the processed images visual distinctions are perceptible even though features of the original image are emptied-out.
The exhibitions were accompanied by a full-colour catalogue with essays. The work at Mac was seen by 2457 visitors and a review of the exhibition was published in Metro March 11th 2005. The exhibitions were sponsored by Mac Gallery, AdHoc Gallery and Lancaster University.
Selected Solo Exhibitions
2007 rush, Krizic Roban Gallery, Zagreb, Croatia. Cinematic video installation made in collaboration with Neil Boynton (Boynton & Rose http://www.boynton-rose.com/ 6' 40". 4th to 11th June
2006 rush, Surface Gallery, Nottingham, UK. 6th to 17th March
2005 White-out, Hotbath Gallery, Bath, UK. Exhibition of paintings and drawings, 2nd February to 23rd February, Catalogue see below
2005 White-out, mac (Midland Arts Centre) The Foyle Gallery, Birmingham, UK. http://macarts.co.uk/?page=event.html&id=819
Paintings and drawings and skyWriting, cinematic video installation, Boynton & Rose, 13' 46", 12th March to 1st May, Catalogue see below
2005 White-out, AdHoc Gallery Buddle Arts Centre, Wallsend, North Tyneside, UK. www.northtyneside.gov.uk/docs/ arts/E-zine Paintings and drawings and skyWriting, cinematic video installation, Boynton & Rose, 13' 46", 19th September to 29th October, Catalogue see below
2001 Emma Rose, Axis Gallery, Leeds, UK. 8 paintings, 1st June to 1st July
1999 Paintings by Emma Rose, Angel Row Gallery, Nottingham. UK. 8 paintings 60 x 66", 12 June to 24th July, Catalogue, see below
1991 Huddersfield City Art Gallery, UK. 12 paintings and 6 prints, 3rd May to 20th June
1990 Cookridge Street Gallery, Leeds UK. 10 paintings, 4 prints, 9th October to 17th December
Festival Presentations and Screenings
2007 12th International Media Art Biennale WRO 07. Threshold, Boynton & Rose, 6' 40",Wroclaw, Poland 16 May - 17 June 2007 WRO Art Center,National Museum in Wroclaw,Entropia gallery, Teatr Lalek, Mleczarnia (festival club). http://wrocenter.pl
2007 Videoforms, screenings for remarkable videos. rush, Boynton & Rose, 6' 40", with catalogue, Clermont-Ferrand, France March 13th - 17th www.videoformes.com
2006 4FF - Four Film Festival, Bolzano, Italy, Short Film Experiment, specially selected for an additional exhibition of video intallations from the best experimental films entered for the Opere Nuove category. Centro Culturale Trevi (Centro Trevi www.bolzano.net/trevi.htm) 10th to 18thth November
2006 Korea Experimental Arts Festival, skyWriting: Boynton & Rose, video installation, 13'46" www.kopas2000.co.krhttp://www.kopas2000.co.kr/
the best experimental films of Seoul Net Festival 2005, screened twice in open-air theatre during the festival period 2nd to 6th August
2006 700IS Egilsstaðir, Reindeerland, international experimental video festival, Iceland, www.700.is rush, Cinematic video installation, Boynton & Rose, 6' 40", shortlisted for the Alcoa Prize, 31st - 3rd April
2005 'BASICS', transmediale.05, international media art festival, Berlin. Germany. http://www.transmediale.de/skyWriting: Boynton & Rose, video installation, 13'46" and lecture on the work and its aesthetics. 4th to 8th February.
There were 66 reviews in newspapers, journals, radio, and television programmes (equivalent to the BBC). The exhibition took place in the Haus der Kulturen der Welt, The House of World Culture. The jury was international, selection was international. There were more than 900 applications from 51 countries. There were 5 other exhibitors in our category: Extended Landscapes.
2005 The Big Screen. Exhibition of skyWriting: Boynton & Rose, video installation, 13'46", Exchange Square, Manchester, UK. www.bbc.co.uk/ The Bigger Picture is co-ordinated by the Cornerhouse Gallery in association with the BBC and Manchester City Council. 23rd October to 5 November and 5th to 11 May (five screenings daily)
2005 Seoul Net Festival. http://www.senef.net/, Exhibition of skyWriting: Boynton & Rose, video installation, 13'46". Selected from worldwide submission. 54 finalists out of 176 entries, from 27 countries selected 90 films and webworks by artists from 16 countries. 1st May to 30th June
2004 'Du studio à la scène. Présentations des assistants et des compositeurs invités à l'Ircam', Résonances 2004, Ircam, Centre Pompidou, Paris, FR. Screening of skyWriting, Boynton & Rose,13'46", and conference presentation on the work and its aesthetics. Paris, 15th October
2004 Candid Projection Room. Screening of skyWriting Boynton & Rose, 13'46". Candid Arts Trust, London, 23rd November
2004 NWUA conference. Screening of skyWriting Boynton & Rose, 13'46", the Whitworth Art Gallery, Manchester, 2nd November
1998 Slow Burn: Meaning and Vision in Contemporary British Abstract Painting. Co-curated with the Director of the Mead Gallery, Sarah Shalgosky. Seven British artists, myself included (with 8 paintings 60 x 66") in total 70 works. Catalogue and symposium, see publications below.
Mead Gallery, Warwick University, 10th November to 12th December
Peter Scott Gallery, Lancaster University, January/February
Leeds Metropolitan Art Gallery, Leeds, March/April
1997 Hot Bed, Contemporary British Printmakers. 10 contemporary British Printmakers, Scott Gallery, 4 prints, 21st April to 1st June
2006 Inspiration to Order exhibition organised in collaboration with colleagues in LICA: Art. Curated by Rebecca Fortnum. Exhibited in the University Art Gallery, California State University, Stanislaus, USA; The Winchester Gallery, Winchester School of Art; The Gallery at Wimbledon School of Art. Exhibition in conjunction with catalogue and symposium -see publications
2006 Beyond the Senses, The Bargehouse, Oxo Tower, London, UK, www.submit2gravity.co.uk rush, cinematic video installation, Boynton & Rose, 6' 40", 16th March - 1st April,
2005 The Society of Scottish Artists. The Scottish National Gallery, Royal Scottish Academy Gallery, Edinburgh, www.s-s-a.org/2005/screen.html Exhibited skyWriting, Boynton & Rose, video installation, 13'46" from open international competition (video only). 22nd January to 17 February
2004 PINK. Exhibition of skyWriting: Boynton & Rose, video installation, 13'46". 7 selected artists. The Gallery, Heriot Watt University, Scottish Borders Campus, Galashiels, 1st to 29th September
2004 Open Exhibition. Stockport Art Gallery, Stockport. 2 prints. December
1997 Pacesetters. Annual Open Exhibition for Painters. Peterborough Museum and Art Gallery. Six artists selected from 150. 8 paintings, oil 72 x 65", 13th September to 25th October
1997 Logos Art Gallery. London. National Art Competition. 1 painting, 1st to 20th December
1996 Exhibition of Monoprints, Jillian George Gallery. London.6 prints, 7th August to 10 September
1996 Cross Channel Prints, Musee Atelier Adzak. Espace D'Art International Paris. 3 prints. June/July
1996 The Making of Prints, The Elizabethan Exhibition Gallery, Wakefield. 26th October to 15th December
1996 Impressed, Rye Art Gallery, Rye. A Printmakers' Council Exhibition. 3rd June to 24th July
1995 Second International Female Artists' Art Biennial. Stockholm. Sweden. 1 print. 20th December to 27th January
1994 Artists' in Spain, Rye Art Gallery, Rye. Supported by South East Arts. 10th December to 29th January
1994 The Mall Gallery. London. Abstraction; The New Generation. 4 paintings, January/February
1994 Group Exhibition. Durham Museum and Durham Art Gallery. 2 prints. 28th January to 26th February
1994 Artists' Prints and Books, Hereford City Art Gallery and Museums, Hereford. 4 prints. December/January
1994 The Hatton Gallery, Newcastle University. 2 prints. 10th May to 2nd June
1993 The Rathause, Dortmund Germany. Sponsored by the Kulturburo Stadt Dortmund, Westfalischer Kunsterbund Dortmund. Fourteen artists altogether from Denmark, Britain, the Netherlands and Germany. 6 prints. Catalogue see below
1993 Pike Gallery, London. 6 paintings. 22nd January to 2nd March
1993 The Mercer Gallery Harrogate. 1 print. 5th December to 23rd January
1992 Scott Gallery. Tradition and the Modern, Lancaster University. 4 paintings. 1st August to 3rd September
1991 Simpson Curtis Painting Prize Exhibition. Leeds Playhouse. 1 painting.
1988 British Print Biennial. Invited to show by selection committee: Cartwright Hall, Bradford. Toured to the following galleries: Peacock Artspace, Aberdeen; Chapter Gallery, Cardiff; Mead Gallery, Warwick; 369 Gallery, Edinburgh; Municipal Gallery, Ipswich; Seldown Gallery, Poole; Barbican Gallery, London. 20 prints
1987 Paton Gallery London. 5 paintings, 4 prints. July
1987 Lloyds Bank Young Printmaker Exhibition, Royal Academy. An exhibition of winners of the Lloyds Bank Printmaking Prize. 1st August to 31st August
1987 Angela Flowers Gallery, London. 1 print. May
1986 Contemporary Prints, Cadogan Gallery, London. 4 prints. October
1986 Nine Artists, Axiom Gallery, Cheltenham. 4 prints. September
1986 Fresh Art, Concourse Gallery, Barbican Centre, London. Selected by Nicholas Treadwell. 2 paintings. November
1986 ILEA Class of 86, Royal Festival Hall, London. Selected by Professor Tim Mara. 4 prints. November
1986 Camden Annual, Camden Arts Centre, London. 1 print. January
1984 Rank Xerox Tradition and Innovation in Printmaking. Royal Festival Hall.
1984 Two Person Show. Leeds Metropolitan University Gallery. 10 paintings, 20 prints
2007 forthcoming: article for Zivot umjetnosti: Croatian magazine for contemporary arts, to be published in December 2007 in English with a Croatian translation. Special Issue on the theme of Regions and Regionalism
2004 BASICS, transmediale.05 international media art festival Berlin. Full colour, pp 72. Written in English and German. Essays outlining the themes of transmediale.05 and outlining the meanings and context of work exhibited.
2005 Catalogue: SSA 2005 full colour, pp. 66. The Royal Scottish National Gallery, Academy Gallery, Edinburgh
2000 'A Sustainable Practice?: Painting, Criticism and Theory' essay by Rose in N. Whiteley (ed.)(1999) De-Traditionalisation and Art: Aesthetic, Authority, Authenticity. Middlesex University Press, 166 pp., ISBN1898253 37 4
1997 Pacesetters Catalogue. Full Colour illustrations. Peterborough Museum and Art Gallery.
1995 Land into Art Exhibition Catalogue written by Rose
1993 'Statement', Catalogue for Grafik im Rathause, Dortmund, Germany. Kultureburo Stadt Dortmund. 1000 words and translation into German by Rose
1992 'Statement', Catalogue for Tradition and the Modern, Peter Scott Gallery, Lancaster. pp.31-36. 1,500 words ISBN 0 901800 06 6
1991 'Statement'. Catalogue for solo exhibition, Huddersfield City Gallery. 700 words by Rose.
1987 'Statement': 10th British Print Biennial Catalogue. 2000 words by Rose
The solo exhibition of rushat Krizic Roban Gallery, Croatia, was reviewed by Iva Prosoli in Vijenac, the Croatian culture/arts weekly published by Matica Hrvatska, the premier Independent Croatian cultural institution. Vijenac, XV (349/350/351), 19.07.07., str.22
UK Metro Associated newspapers Ltd. review of rush at the Surface Gallery Nottingham
UK Metro Associated newspapers Ltd. review of White-out at MAC Birmingham
Sunday Times, Critics Choice (Marina Vaizey), Time Out (Sarah Kent), The Guardian (Robert Clarke, 3 reviews in total), Arts Review (David Lee), Arts Review (Guy Burn), Three reviews in German newspapers: Ruhr Nachrichte, Dortmunder Rundschau and Waz, number 258, Homes and Gardens Magazine, Yorkshire Post, Artists' And Illustrators, What's On In Birmingham and Coventry, Covenrtry Evening Telegraph, Warwick Boar, Artists' Newsletter, Contemporary Visual Arts, Whats on in Leeds (Merrilly Kerr);
2005 Philips have used The Big Screen Exhibition of skyWriting: Boynton & Rose, in their advertising www.business-sites.philips.com/ vidiwall/organisation/article
Publications with extended critical discussion of my work
2006 Inspiration to Order, exhibition catalogue from the exhibition at at California State University Stanislaus, and The Winchester Gallery Southampton University, Wimbledon School of Art Gallery, 2006, pp.1-46, colour illustrations ISBN: 09773967-7-0. Artists Boynton & Rose, Gerry Davies, Rebecca Fortnum, Michael Ginsborg, Beth Harland, Paula Kane, Mary Maclean, Amanda Newall, Vong Phaophanit, Kirk Woolford.
2005 Catalogue: Neil Boynton and Emma Rose, White-out (Lancaster, 2005), pp. 16, 8 colour illustrations. ISBN: 09534477-6-6. A catalogue for the solo exhibitions at mac and AdHoc, with an introduction by Alex Boyd, Exhibitions Manager at mac, and an essay by the artists outlining the research context of the exhibition.
1999 Paintings by Emma Rose, essay by George Szirtes poet and critic for Modern Painters amongst others, catalogue for exhibition at Angel Row Gallery. ISBN 0 905634 37 3, 8 pages, Pyramid press, Nottingham.
1998 Slow Burn: Meaning and Vision in Contemporary British Abstract Painting.
Published alongside the exhibition fully illustrated colour catalogue which provided the critical framework for the reception of the work. Essays were provided by Sacha Craddock, visual arts critic The Times newspaper, Professor Nigel Whiteley, Preface by Rose 500 words. ISBN: 090268339X, pp.48, Pyramid press, Nottingham (1998)
1998 Diane Hill 'The "Real Realm": Value and Values in Recent Feminist Art' in Ian Heywood, Barry Sandywell (eds.), Interpreting Visual Culture: Hermeneutic Explorations of the Visual, Routledge, 1998
Emma Rose currently supervises 5 PhD students working in painting, drawing, printmaking, and film.
She teaches second and third year studio modules and currently supervises 8 third year dissertations.
PhD Supervision Interests
I'm interested in supervising doctoral students in the following areas: art and health; art and landscape; contemporary fine art practice with either a discipline or interdisciplinary focus; contemporary theoretical and critical debates in art; landscape and environment.