Profile
Mette Sofie Roche b.1948
CV
1976: Sterling University, Scotland, Professional Qualification in Social Work (post grad)
1976 -77: Dunlaoghaire School of Art - Evening courses in Ceramics and sculpture
1978: Weaving with Judy Toner (Irish weaver)
1990 and 1991: Burren Collage of Art, 2 weekend courses with Pauline Bewick (watercolorist)
1992: Burren collage of Art, weekend course in Art Therapy
2000 – 2004: Evening Painting and drawing classes with Marysia Harasimowicz in Dunboyne
2008: Rossnarea Art School, Co Meath: Life drawing classes with Sam Law
2008:Art Dunboyne College of Further Education. Art Portfolio course (FETAC Level 5) with Bernie Lehey
2008: Solstice Art Student of the year Award
2008: Hugh Lane Gallery, Dublin, “Painting with the exhibitions” weekly workshop with Felicity Clear
2008: IMMA, Studio 10 weekly workshop with Beth O’Halloran
2009/10: Dunboyne College of Further Education, Art and Art Business (FETAC Level 6) with Bernie Lehey
2009/10: National College of Art and Design , Certificate in Drawing and Visual Investigation (part-time)
Profile
Mette Sofie Roche, originally from North-Norway, has been living in Ireland for the past 30+ years, currently in a restored barn in Co. Meath, where she also has her studio. A restored schoolhouse in the North of Norway serves as a second home during the summer.
Originally a hobby weaver and textile artist, strong traditions which she brought with her from Norway, she started watercolour painting after her first son was born in 1979.
When she retired in 2008 she embarked on more formal art studies and is enjoying a full time art practice as well.
She has been a member of the Old Schoolhouse Art Group in Dunboyne since its foundation in 2001. and of the Meath Arts Group since 2007.
Her paintings and art work are in many private collections in Norway, England, Holland and Ireland and one commissioned painting is in a government office in Navan
Artistic Statement
Her art is inspired by her early years in the North of Norway; the natural phenomena of changing light and climates as well as the human figure, moods and relationships. Her working environment as a social worker can also be a source of inspiration.
Her art has been a journey and process of discovery, continually evolving and changing.
She works in a variety of media ; watercolour, Indian ink, soft pastel and acrylic as well as textile and combined materials. By using strong colours she tries to create something which will delight the viewer and depict the strength and optimism of life.
Her art work is sometimes realistic or representational depictions of scenes or objects but she also works from intuition and attempts to make visible that which is not immediately obvious.
Being involved in a creative process is for her as important as sleep and her recent participation in formal art education has increased her confidence and enhanced her creativity.
Textile Art
How to transform ordinary fabric from plain to “wow”?
To breath fresh energy into fabric; second hand cloths, recycled curtains, old embroidery and lace and by incorporating salvaged old objects like jewellery, mirrors and shells.
To build depth and character into the piece of fabric by using manipulation techniques involving ; layering, dissolving or distorting - softening, fusing and bonding - by using heat.
To develop interesting patterns and unique surfaces on or with the fabric and objects and create 3-D works of art.
The textile art I have made to date reflects my experiences, interests and personality. They have been inspired by my interest in nature, my many long walks along the sea shore or in the mountains and many hours spent working in and enjoying the garden.
I usually start with an idea of what I want to create and choose pieces of textile which reflects in some way to the image I have in mind.
The heat manipulation of the layers of fabric can reveal surprising discoveries and as the work evolves, it leads to other variations, different elements gets exaggerated, altered or added and expose new aspects of the original inspiration.
Depending on what type of fabric used, the layering, colours, embroidery or lace may encourage new ways of thinking about the piece of work.
Often the imagery may become more and more abstract but I always try to retain the essence of the original inspiration.
The addition of a new media like a small mirror or a pearl will often create a further new image.
It becomes my personal interpretation.
The fact that the art work is layered, fused and moulded by heat increases the stability and longevity of the work.
