In his early 50s, Roger Hose is already one of Australia's most convincing and original painters and sculptors. His work is as audacious as it is graceful; the one quality leavens the other that just as delicate reverie sets in, you're pulled up by a less immediately seductive note, an act of painterly and sculptural boldness or some other form of tough, livening aesthetic decision.
After leaving school he spent time living and travelling through Australia, United Kingdom and Europe. Roger describes these experiences as being enormously influential in the development of his theory and artistic practice.
Hose's work gets stronger every year, treading the sometimes overtrodden path between expressionistic and abstraction in a way unlike his contemporaries.
He uses these art practices as a form of meditation, and claims underlying influences from other artists who have approached the painting/sculptural process in a similar way. namely, Jean Dubuffet, Franz West, Alberto Giacometti and Pablo Picasso. The emotions and moods of his works are conjured directly out of the processes of sculpturing, unmediated by theory or jargon. And yet these are intelligent sculptures- intelligent in their understanding of ambiguities, of space, and of colour. But Hose updates the idiom with his bold and naive way with paint and his tremendous array of textural effects.
His sculptural works are compelling, suggesting new possibilities of texture and scale, playing deftly with poetic links between the microscopic in nature and the distantly observed.