As a child, I would say, “I want to unzip my body and fly free.” Not in a dark despair way, but in a way resembling the flight of a bird. I make art because it sets my body free. I’m drawn to making monumental works because of how I feel in the space of something larger than myself. It allows me to transcend my physical body’s spatial limits.
Making art also offers me a direct connection to my earliest memories and awareness of my environment: Comfort and discomfort, attraction and repulsion, an annoyance that I can go merely as far as this body will take me, an intuition of a greater freedom.
Memory becomes the tool by which to carve space.
Conceptually, my work explores complex relationships between “self” —the perception of the raw and refined physical body— and “other” —memory, or any perception of object, person, animal, or environment outside of the self. I’m drawn to topics of power and engendering through the lens of violence and intimacy, both the consensual and non-consensual kind.
By exploring the constantly turning thread of tension, anxiety, attraction, and repulsion within these dynamics, I’ve come to understand that these waves of involuntary contraction forcing us backward and forwards are a fundamental expression of our existence. It is in this continuously pulsating duality that much of my work is born.
I create pieces that are small and monumental in scale, deteriorating and industrial, ephemeral and static. I use industrial, durable materials such as metals, stone, wood, and glass in combination with deteriorating bio-materials such as flesh, organs, plant matter, and my own body. Through these materials, I explore the abstracted and eroticized body using its organic forms as a visual or contextual starting point. -Rosanna