Rose Finn-Kelcey

Rose Finn-Kelcey first came to prominence in the early 1970s as a central figure in the emerging communities of performance and Feminist art in the UK.

Her artistic oeuvre is characterised by unpredictability, with each work changing dramatically from one to the next. The complex thinking embodied in her work incorporates themes of power, dilemmas of mastery, the myth of the artist, the gaining of a voice, the deceptions of value, the nature of collaboration, the surrogate performer, spirituality, longing and death.

Rose Finn-Kelcey Restored to her natural shape by nibbling rose petals 1977 Black & white photograph H 64.5 x W 47.5 cm — **Rose Finn-Kelcey**
*Restored to her natural shape by nibbling rose petals*
1977
Black & white photograph
H 64.5 x W 47.5 cm

Rose Finn-Kelcey Here is a Gale Warning 1971-2011 Silver gelatin print H 70 x W 46.6 cm — **Rose Finn-Kelcey**
*Here is a Gale Warning*
1971-2011
Silver gelatin print
H 70 x W 46.6 cm

Rose Finn-Kelcey The Restless Image: a discrepancy between the seen position & the felt position 1975-2011 Black & white bromide print H 88 x W 108 cm — **Rose Finn-Kelcey**
The Restless Image: a discrepancy between
the seen position & the felt position
1975-2011
Black & white bromide print
H 88 x W 108 cm

Rose Finn-Kelcey Divided Self (Speakers’ Corner) 1972-2011 Black & white silver gelatine photographic print H 54.5 x W 76 cm — **Rose Finn-Kelcey**
*Divided Self (Speakers’ Corner)*
1972-2011
Black & white silver gelatine photographic print
H 54.5 x W 76 cm

Rose Finn-Kelcey Fog 1972-2011 ‘Weather forecast’ flag Nottingham Castle, Nottingham Black and white photograph H 54.5 x W 76 cm — **Rose Finn-Kelcey**
*Fog*
1972-2011
‘Weather forecast’ flag
Nottingham Castle, Nottingham
Black and white photograph
H 54.5 x W 76 cm

Rose Finn-Kelcey Power of the People 1972 C-type colour print Signed and numbered by the artist H 70 x W 46.6 cm — **Rose Finn-Kelcey**
*Power of the People*
1972
C-type colour print
Signed and numbered by the artist
H 70 x W 46.6 cm

Rose Finn-Kelcey Power for the People 1972 Documentation photograph #2 Colour photograph W 61 x H 85.5 x D 4 cm Unique — **Rose Finn-Kelcey**
*Power for the People*
1972
Documentation photograph #2
Colour photograph
W 61 x H 85.5 x D 4 cm
Unique

Rose Finn-Kelcey Power for the People 1972 Documentation photograph #3 Black and white photograph W 23.5 x H 29 cm Unique — **Rose Finn-Kelcey**
*Power for the People*
1972
Documentation photograph #3
Black and white photograph
W 23.5 x H 29 cm
Unique

Rose Finn-Kelcey The Boilermaker's Assistant 1978 Documentation photograph Black and white photograph W 51.5 x H 52.5 x D 3 cm Series of 2 — **Rose Finn-Kelcey**
*The Boilermaker's Assistant*
1978
Documentation photograph
Black and white photograph
W 51.5 x H 52.5 x D 3 cm
Series of 2

Rose Finn-Kelcey Untitled: Boxing glove and bubble #3 C.1970s Black and white photograph W 33.5 x H 38 x D 3 cm Unique — **Rose Finn-Kelcey**
*Untitled: Boxing glove and bubble #3*
C.1970s
Black and white photograph
W 33.5 x H 38 x D 3 cm
Unique

Rose Finn-Kelcey Untitled :Boxing glove and bubble #4 C.1970s Black and white photograph W 33.5 x H 38 x D 3 cm Unique — **Rose Finn-Kelcey**
*Untitled :Boxing glove and bubble #4*
C.1970s
Black and white photograph
W 33.5 x H 38 x D 3 cm
Unique

Rose Finn-Kelcey Untitled: Bullfighter 1986 Black and white photograph W 42 x H 44 x D 3cm Unique — **Rose Finn-Kelcey**
*Untitled: Bullfighter*
1986
Black and white photograph
W 42 x H 44 x D 3cm
Unique

Rose Finn-Kelcey Glory 1983 Card, metal, wood, speakers, sound system, acrylic, arrow, red gloves (A performance involving 100 cardboard cut-out surrogate performers, croupiers shovel, other implements and sound track) — **Rose Finn-Kelcey**
*Glory*
1983
Card, metal, wood, speakers, sound system, acrylic, arrow, red gloves
(A performance involving 100 cardboard cut-out surrogate performers, croupiers shovel, other implements and sound track)

Rose Finn-Kelcey Untitled bench drawing #2 C. 1970s Pencil on paper W 84.3 x H 63 x D 3.8 cm Unique — **Rose Finn-Kelcey**
*Untitled bench drawing #2*
C. 1970s
Pencil on paper
W 84.3 x H 63 x D 3.8 cm
Unique

Rose Finn-Kelcey Untitled drawing ’Memory fades more in some parts of the picture than in others’ C. 1970 Pencil drawing on paper, framed W 26 x H 92.5cm Unique — **Rose Finn-Kelcey**
Untitled drawing
’Memory fades more in some parts of the picture than in others’
C. 1970
Pencil drawing on paper, framed
W 26 x H 92.5cm
Unique

Rose Finn-Kelcey Ego / Non-Ego 1994 Handout: Paper, sponge and plastic bag W 36 x H 45 x D 6 cm Unlimited — **Rose Finn-Kelcey**
*Ego / Non-Ego*
1994
Handout: Paper, sponge and plastic bag
W 36 x H 45 x D 6 cm
Unlimited

Rose Finn-Kelcey One for Sorrow, Two for Joy 1976 -2012 2 photographs mounted on aluminium Framed dimensions: H 170 x W 56.5 cm Unique in this size — **Rose Finn-Kelcey**
*One for Sorrow, Two for Joy*
1976 -2012
2 photographs mounted on aluminium
Framed dimensions: H 170 x W 56.5 cm
Unique in this size

Rose Finn Kelcey God Kennel – A Tabernacle 1992 MDF, paint Unique — **Rose Finn Kelcey**
*God Kennel – A Tabernacle*
1992
MDF, paint
Unique

Rose Finn-Kelcey Bureau de Change 1987 £1,000 of loose change, wooden floor, surveillance camera and monitor, auctioneer’s stand/viewing platform and security guard wearing full Tate uniform. L 22.9 x H 15.2 cm — **Rose Finn-Kelcey**
Bureau de Change
1987
£1,000 of loose change, wooden floor, surveillance camera and monitor, auctioneer’s stand/viewing platform and security guard wearing full Tate uniform.
L 22.9 x H 15.2 cm

Rose Finn-Kelcey Bureau de Change (detail) 1987 — **Rose Finn-Kelcey**
Bureau de Change (detail)
1987

Rose Finn-Kelcey Pearly Gate 1997 Wood, aluminium, customised car paint L 694 x H 260 x D 135 cm Unique — **Rose Finn-Kelcey**
*Pearly Gate*
1997
Wood, aluminium, customised car paint
L 694 x H 260 x D 135 cm
Unique

Rose Finn-Kelcey Angel 2004 Shimmer-discs, plastic, metal, wood L 1500 x H 520 cm — **Rose Finn-Kelcey**
*Angel*
2004
Shimmer-discs, plastic, metal, wood
L 1500 x H 520 cm

From 1975–1985 Finn-Kelcey's work was almost entirely performance based, including works such as ‘One for Sorrow Two for Joy’ (Acme Gallery, London 1976) and ‘The Boilermaker’s Assistant’ (London Calling, 1978).

In 1980 she introduced the idea of a 'vacated performance' in an effort to express a desire to be both inside and yet objectively outside a work, as epitomised by ‘Mind the Gap’, (ICA, London, 1980), ‘Glory’ - a compelling reaction to the Falklands War (Serpentine Gallery, 1983) and ‘Black and Blue’ (Matt's Gallery, London, 1984). The late 1980s saw a move towards installation-based work with a performative element, notably, ‘Bureau de Change’ (1987) a response to the auction of Van Gogh's ‘Sunflowers’, a striking visual polemic against dehumanised values as well as a complex meditation on art and creativity.

In the early 90s Finn-Kelcey challenged the material and spiritual limits of the built environment with works such as her room sized block of steam; held in place by cold air curtains (The Chisenhale Gallery, London, 1992 and Saatchi Gallery, London, 1993).

Rose Finn-Kelcey's work can be found in national and international collections, most notably within the Tate Gallery Collection, The Arts Council Collection, The British Council Collection, The Victoria & Albert Collection, the Welkunst Foundation and the Bernard Starkman Collection.

Rose Finn-Kelcey was born in Northampton in 1945. She studied at Ravensbourne College of Art and Design, and at Chelsea School of Art, London. She lived and worked in London from 1968 until her death in 2014.

For sales enquiries contact:
Kate MacGarry

For exhibition enquiries contact:
Andrée Cooke