Rosemary Cooley was born and educated in the United States, but lived for 15 years in Africa, Asia and South America. The resulting perspective of cultures together with printmaking studies in Italy, and Jungian studies have created a new awareness in light, color and content. A believer that process can be more important than product, her prints produce a wordless language based in dreams and aspirations.
Architecture, glass vessels, fish, water, trees and flowers combine to form the visual language of Cooley’s watercolors and prints. The addition of old script, evidence that each person can draw, adds humanity to the world view of these archetypal objects.
The monoprint, is a painterly process which begins on a plexiglas plate with oil or water-based inks. Japanese or other papers, may be added (Chine Colle) as the print passes through the etching press, creating a layered result. Intaglio is another favorite of Cooley, who uses the traditional acid etched method as well as Solarplate Intaglio, a non-toxic process which is etched in sunlight and developed in water. Lithography, using the Gum Arabic transfer process and Solarplate allow for the addition of remnants of old postcards and bills of lading, treasures of script uncovered in markets of France and Italy. Relief prints and Carborundum Collographs also feature in the work, sometimes in concert with the other methods. Cooley is a process driven artist who loves the mechanical and chemical surprises which printmaking reveal.
Her love for art history, which she has taught for many years, surfaces in unexpected ways. Cooley’s work is in the collections of Georgetown University, Drew University, Delbarton School, and many others in the U.S., South Africa, France, Belgium, Italy, Sweden, China and Japan.