Hazel Roberts is an artist based in Manchester who specialises in creating multi-layered complex screenprints.
Her work features both geometric and painterly forms, creating energy through gestural marks and bold use of colour. Images explore the personal, the political, and always playful, as she tries to bite back from all the bad advice given in art school.
The foundations of Robert’s work lie firmly in working-class history. Exploring subject matters such as the unity, politicization, and mobilization of people. Robert’s latest work references those less celebrated figures in history, such as Rosa Luxemburg, Alexandra Kollontai, and the architect Margarete Schutte-Lihotzky.
Accolades include winning the Leeds Leftbank Art prize in 2018 and the Flourish Award for Excellence in Printmaking. Robert’s work is held in permanent collections at The Working Class Movement Library and the Mechanics Institute in Manchester.
Self-taught or art school?
I’m art school taught, but it was the mid-nineties and that word taught should only be used loosely. I think it was after art school that I discovered what was important and what sort of artwork I needed to make. I originally studied Fine art in Cardiff, specialising in painting. Later I returned to education and studied for a Masters’s in Design. I don’t feel that I fit easily into either category, but I’m happy to sit somewhere in-between.
If you could own one work of art what would it be?
I think everyone I know would expect me to say something by El Lissitzky, or one of the Constructivists which is tempting, but I would have to opt for a Paula Rego drawing, probably one from her ‘Dog Woman series’.
When I was sixteen the first major exhibition I ever went to was Rego’s solo show at the National Gallery. It really blew me away, it was the energy in her drawings and narrative that were like nothing I’d seen before. Overexcited I wrote a comment in the visitor’s book and for some naive reason, I left my address. I couldn’t believe it when I received a letter from Rego, the encouragement it gave me at that age was unbelievable and it’s something I’ll always treasure.
How would you describe your style?
Seriously Playful, hopefully unpretentious, with a dose of Marxism.
Can you tell us about your artistic process?
I’m an avid notetaker and scribbler, collage maker. I take a long time to make a piece of work and often work on multiple projects at the same time. If nothing else printmaking has taught me patience. I’ve learned is it’s not possible to rush and I find I am pushing myself to make more complex images. Although the final outcomes can sometimes look spontaneous a lot of time is invested in designing and editing an image before any printing can begin.
I don’t approach screen-printing in a traditional way; finding it difficult to think in terms of rapid construction, instead, I prefer to work in small sections, building up layers. Prints can consist of anything between 30 – 50 layers.
When I am producing a print, I get so involved with it and can’t relax until it is complete, but as soon as it is I move on to the next project and forget the struggle and often the print. Sharing and showing my work is probably my biggest weakness.
Is narrative important within your work?
Yes, a lot of my current work celebrates those less celebrated figures in history such as Margarete Schutte-Lihotzky (architect and Communist activist), Rosa Luxemburg, and Alexandra Kollontai (Marxist Revolutionaries). Continuing themes in my work are unity, organisation of people.
Who are your favourite artists -and why?
If I had to choose just one artist it would be El Lissitzky. The Suprematists are fascinating. It’s hard to believe that they were able to create a new visual language in the 1920’s Soviet Union with such ambition and commitment. There is so much written about Kazimir Malevich, but for me, Lississky offers so much more in terms of sophistication, pure style, and attitude. Just take the children’s book – About Two Squares, it’s perfect.
I continually go back to the works of Stepanova, Rodchenko, and Popova. The diversity of their practice is something I can relate to and for Stepanova and Popova the impact they had as women on design in the 1920’s remarkable.
What or who inspires your art?
I’m inspired by many things such as;
The attitude and design of the Bauhaus school, the playfulness of Dada, the sharpness of Constructivism, Those forgotten and less celebrated in history such as Margarete Schutte-Lihotzky mentioned earlier, French Cinema, the writings of Bertolt Brecht, Marxism, and biting back from all the bad advice given in art school.
Where’s your studio and what’s it like?
My studio is at Bankley studios in Manchester. It is an artist’s co-operative in an old mill with roughly 25 studios with artists working across multiple disciplines. In winter it’s unbearably cold and in summer it can be way too hot, there’s a lot to moan about, but it’s my space, and thankful to have it.
Do you have any studio rituals?
Not really, I just start work straight away as soon as I get there. Time is too precious.
What are you working on currently?
I’m working on a few projects at the moment including a series of prints inspired by the writings of Rosa Luxemburg, and a project looking at the system of art and design education.
Where can we buy your art?
I’ve been putting off creating a website, but it’s something I’ll have to give into soon. At the moment the best way to contact me is DM me through Instagram at hazelroberts1.
