At the venerable age of 91, Rose Wylie is about to make history as the first British woman to hold a solo exhibition in all the main galleries of the Royal Academy. This unconventional artist, long dismissed by the mainstream art world, is finally receiving the recognition her bold, whimsical works deserve. With her striking canvases—ranging from playful depictions of Hollywood icons to mischievous representations of sporting legends—Wylie’s vibrant art continues to spark conversation and admiration across galleries worldwide.
A Rebel in the Art World
The Royal Academy has dubbed Wylie a “rebel artist,” a title she embraces as she navigates the landscape of an art establishment that has traditionally undervalued female artists. Her work, characterised by exuberant colours and unexpected juxtapositions—such as Nicole Kidman juxtaposed with ancient Egyptian motifs—defies easy classification. “I don’t want to be pigeonholed,” she asserts, rejecting the notion of aligning with any singular art movement. Instead, Wylie thrives on the freedom of creativity, eschewing art that feels pretentious or overly serious.
Wylie’s artistic journey has unfolded over more than six decades, rooted in her 17th-century home in Sittingbourne, Kent. This eclectic space, with its overgrown jasmine and cluttered charm, serves as a reflection of her rebellious spirit. Among the detritus of her creative life—dried bouquets and cobwebbed cakes—Wylie has cultivated an environment where chaos and creativity coexist harmoniously. “You don’t come in and clean up; you come in and work,” she declares, embodying her philosophy on art and life.
An Unconventional Journey to Recognition
It’s hard to believe that just 16 years ago, Wylie was virtually unknown. Her breakthrough came in 2010 when she was featured in a group exhibition at the National Museum of Women in the Arts in Washington, D.C. Since then, her works have been showcased in cities like Los Angeles, Cologne, and Ghent, with her painting of Kidman, *Black Strap (Red Fly)*, selling for an impressive £220,500 in 2021.
After studying at Folkestone and Dover Art School in the 1950s, Wylie took a 20-year hiatus to raise her three children. She reflects, “If you are truly engaged in painting, your mind is elsewhere. I felt it was better to be present for my family.” This decision, rooted in prioritising motherhood over artistic ambition, speaks volumes about Wylie’s values and the sacrifices she made along the way.
The turning point in her career coincided with a visit from renowned feminist writer Germaine Greer, whose support helped propel Wylie into the spotlight. With new opportunities emerging, Wylie found herself exhibiting at prestigious venues, including Tate Britain.
The Playful Nature of Wylie’s Art
Wylie’s oeuvre is infused with a sense of playfulness and mischief, drawing inspiration from a kaleidoscope of sources, including Roman mosaics, television, and historical events. Her distinctive approach involves taking disparate images and weaving them together in ways that challenge perception and provoke thought. For instance, a simple footpath in her garden transforms into a symbolic gun, reflecting her fascination with the absurdity of life and the unexpected connections that arise from her imagination.
Her latest works, created in anticipation of her Royal Academy exhibition, include a bold diptych titled *Jumbo Meat Chopper*, which captures the essence of loss and regeneration following a garden renovation. Wylie’s ability to find joy and creativity even in the face of change showcases her unique artistic voice.
A Life Defined by Art and Ambition
Wylie’s husband, the painter Roy Oxlade, was once the more recognised artist in their household. With his passing in 2014, Wylie has since come into her own, relishing her newfound acclaim. “It could have been difficult if he were alive to see my success, but he always supported me,” she reflects with a sense of gratitude.
Her fascination with footballers, sparked by late-night viewings of *Match of the Day* with Oxlade, has also become a significant theme in her work. Wylie’s footballers are not just athletes; they are monumental figures, embodying the drama and spectacle of sport. “I like them wispy or monumental,” she quips, demonstrating her playful engagement with the subject matter.
As she prepares for her next exhibition in Paris, Wylie’s ambition shows no signs of waning. She dreams of showcasing her work in major museums worldwide, cementing her place in the annals of visual culture. Her upcoming project, inspired by Henri Rousseau’s *Unpleasant Surprise*, promises to be as audacious and imaginative as her previous endeavours.
Why it Matters
Rose Wylie’s story is not just one of personal triumph; it is a testament to the resilience of artists who refuse to conform to societal expectations. Her journey illustrates the importance of recognising the contributions of women in the arts, particularly those whose work has been overshadowed by history. As Wylie prepares to unveil her groundbreaking exhibition at the Royal Academy, her art invites us to question the narratives we accept and to celebrate the whimsical, the untidy, and the rebellious spirit that defines true creativity. In an age where authenticity is often sacrificed for conformity, Wylie stands as a beacon of inspiration, reminding us all to embrace our individuality and pursue our passions unreservedly.
