Scottish artist exploring Collection, Printmaking, Installation and Collaboration. GSA Graduate 2016.
The Perfect Spot, Tchai Ovna, Glasgow June - July 2018
Women's Work: Being Seen (Pt 2), Lillie Art Gallery, Milngavie October - November 2017
PARAMIC, Paralympic Funded Permanent Installation, at Queen Mary University of London, Mile End Hospital, London August - September 2017
Woman's Work: Being Seen (Pt 1), Lillie Art Gallery, Milngavie April 2017
Emerging Contemporaries, The Glasgow Art Club, Glasgow January 2017
'Whereabouts You Are?, Performer in work by Inês Bento Coelho in GSA PhD Exhibition, Reid Gallery, Glasgow October-November 2016
DerDieDas Ensemble, Weirdo Warehouse, Glue Factory, Glasgow October 2016
New Generation Show 2016, Compass Gallery, Glasgow July 2016
Glasgow School of Art Degree Show, Glasgow, Scotland June 2016
Painting & Printmaking, Grace and Fyfe Clark Gallery, Glasgow 2015
KSDIY, The Shipon Gallery, Kurt Schwitters Merzbarn, Cumbria 2014
Govanhill Lanterns Project, Commonwealth Games, Glasgow 2014
Backyard Residency, Aberdeenshire, Scotland April 2017
FAR (Floating Art Residency), Loch Shiel, Scotland July 2016
KSDIY Merzbarn Residency, Kurt Schwitters Merzbarn, Cumbria July 2014
Hospitalfield Drawing Sessions, Hospitalfield, Arbroath May 2012
BP Portrait Award Winter Schools, Aberdeen Art Gallery, Aberdeen November 2011
Mack #1 for Crawford Mack, London December 2016
We Are The Circumference for Graeme Miller, Glasgow November 2016
Central Station for Crawford Mack, London October 2016
Apprentice Printmaker at IST_PRINTING May - October 2017
Internship at Timorous Beasties, Glasgow February - March 2017
Studied Painting and Printmaking at Glasgow School of Art, Glasgow Jun 2012 - 2016
My name is Rowan Flint and I am a multimedia artist and designer based in Glasgow. I work across a diverse range of print based, installation and material driven practices, in both my formal training as a printmaker and in my fine art and design exploration. I mainly use and respond to materials and experiences; deconstructing, combining and recombining their most interesting elements. I like to create work that involves the spectator and, in a sense 'build worlds' where the experience is joyously at odds with the 'norm'. I especially want to challenge our historical notion of reductionism and definition, where one meaning dictates what can be read. Through my exploration of hybrid and humourous language throughout history, the grotesque characters of Hiernoymous Bosch, the utter liberation of the female form under Nancy Spero and the entirety of the paradoxical idea of the 'Kitsch', I hope to achieve something truly engaging, meaningful and active in the mind of a viewer.
I aim for these works to encourage commentary or thought on personal, social, political or emotional experiences of the individual viewing them. I am extremely interested in hearing your opinion and would welcome discussion on any response you may have.
Milngavie and Bearsden Herald:
Glasgow Art Club:
I aim to create work that evolves and responds to the viewer’s experience of it. I encourage a viewer to respond to their instincts in viewing the works, latching on to specific works, hues, characters, materials or positions within the space and following them through in to the work as a whole. There is no definitive way of reading any of my works. I base my practice on the concept of hybridity, the idea that something can be composed of two or more conflicting parts and yet still exist in simultaneity. The figures, for example, are at once male, female and genderless; the works are both standalone and part of a wider installation; the compositions are equally landscape and figurative.
I have been heavily influenced by Hieronymous Bosch and Nancy Spero, referencing their wider contexts of medieval history, questioning the constructs of gender and narrative autonomy, to inform my content and composition. I turn to Hannah Hoch, Wangechi Mutu and Mary Beth Edelson to investigate my materials and methods and their potential to support the visual intensity of the work.
I use printmaking in a painterly or spontaneous way, mastering my acetone print method and its versatility to achieve an enormous range of marks and masquerade textures. I employ collage to bring together fragments of my reality into a visual cacophony of colour, gesture and humourous, multiplicitous narratives. I switch between digital and manual technologies, exploring their interaction and playing with their visual incongruities to compose the works.
My work stems from personal narratives that, when fragmented, recombined and exposed to new contexts become independent from their origin. They become autonomous and manifest as figures or environments capable of constructing new narratives, layering experiences and forging connections across the various works and contexts. I invite a viewer to allow themselves to engage, move around and get somewhat lost in the work and let it lead them to their own conclusions.