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February 2018
Interview Roxanne Rossi |
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Roxanne Rossi is a Tucson and Denver-based artist. After many years as art educator, Rossi is now a full-time studio artist working in handmade paper and mixed media painting and drawing. She is a member of Tucson’s Artist Studio Cooperative. She’ll be opening her exhibit “Influence” at the Coop’s Gallery Azul, 439 N. 6th Ave, #179, on Saturday, March 3, from 5 to 9 pm. |
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SAN: Roxanne, you are a native of Colorado. Have you relocated permanently to Tucson or are you one of those snowbirds that fly between the mountains and the desert? Why did you choose Tucson?
Roxanne Rossi: I have always been attracted to the desert. I can still remember the first time seeing Saguaro National Park and being in awe. I still feel that way. My husband and I are huge fans of midcentury modern architecture and Tucson has great areas of these homes. We were excited to DYI one of these, and love the lifestyle it provides. I would say we have relocated, yet we haven’t spent the summer here yet. Still spending summers in Colorado has helped me stay involved with the art community and clients there.
Roxanne Rossi: I have always been attracted to the desert. I can still remember the first time seeing Saguaro National Park and being in awe. I still feel that way. My husband and I are huge fans of midcentury modern architecture and Tucson has great areas of these homes. We were excited to DYI one of these, and love the lifestyle it provides. I would say we have relocated, yet we haven’t spent the summer here yet. Still spending summers in Colorado has helped me stay involved with the art community and clients there.
SAN: Let’s talk about your handmade paper artworks. You have produced three-dimensional vessels of paper, and also two-dimensional wall-pieces. What is it about handmade paper that attracts you as a medium?
RR: When I was introduced to paper making I had been working in watercolor, and some fiber work. Dying the paper gave me some of the same color experience, and the way I was using the paper it was so tactile. It seemed the natural progression for me. It afforded me both the two and three dimensional voice.
SAN: Cotton has a distinctive feel and texture. Why have you chosen to use cotton as opposed to abaca (Manila hemp) which many contemporary papermakers use? or another fiber like gampi? How did it happen that your three-dimensional works stay unpigmented and the two-dimensional works have elements of color?
RR: When I was introduced to paper making I had been working in watercolor, and some fiber work. Dying the paper gave me some of the same color experience, and the way I was using the paper it was so tactile. It seemed the natural progression for me. It afforded me both the two and three dimensional voice.
SAN: Cotton has a distinctive feel and texture. Why have you chosen to use cotton as opposed to abaca (Manila hemp) which many contemporary papermakers use? or another fiber like gampi? How did it happen that your three-dimensional works stay unpigmented and the two-dimensional works have elements of color?
RR: It’s really is about the texture for me. Whether it is the smoothness I can attain, or the deep texture. I found that the other fibers don’t give me the look I want, or that very white color. Over time both the 2 and 3 dimension work has been full of color and pattern, and just white. There has been a correlation to the development of my paintings over time. I’m always working in both mediums at the same time which makes sense that they influence each other.
SAN: Tell us about your process of creating three-dimensional works. This kind of artmaking with handmade paper is labor-intensive. One traditional method is to create silicone molds and then cast the paper pulp into the mold. Is that your method?
RR: I do create my own molds for each piece. I use a variety of materials that I know the paper will release from, and for smaller details I make plaster molds to cast the paper in.
SAN: Tell us about your process of creating three-dimensional works. This kind of artmaking with handmade paper is labor-intensive. One traditional method is to create silicone molds and then cast the paper pulp into the mold. Is that your method?
RR: I do create my own molds for each piece. I use a variety of materials that I know the paper will release from, and for smaller details I make plaster molds to cast the paper in.
SAN: You are also artist who draws and paints. Tell us about your Dresses series. The style of those dresses is distinctive. What attracts you to that style and what attracts you to dresses in the first place? Is it a gender-related comment?
RR: The dress seems to be an emotionally charged image. For me that style is in my head as very feminine. The paintings became this struggle between the delicate feminine shape and texture, with the rough torn surface of exposing the image again after it has been poured over with thick paint. Also it is an exercise for me in letting the perfection go and still loving the results.
SAN: How about your Couples series. They are all male-female and all fairly young. They are displayed in large polyptych. What are you saying in this series?
RR: Actually I did about 120 of these small canvases. It started with sitting my studio for First Fridays, which is like our 2nd Saturdays in Tucson. People would come in, usually in pairs or groups, and at some point they became the art to me. I started asking to take photos of them, in pairs. There are all combinations of couples, even some with animals. What became even more interesting to me was how they would set up for the photo. It seems to have a lot to do with their relationship. I actually started videoing them too. For the exhibit I had 88 of the paintings and a video running showing what their relationships showed in posing for a photo.
RR: Actually I did about 120 of these small canvases. It started with sitting my studio for First Fridays, which is like our 2nd Saturdays in Tucson. People would come in, usually in pairs or groups, and at some point they became the art to me. I started asking to take photos of them, in pairs. There are all combinations of couples, even some with animals. What became even more interesting to me was how they would set up for the photo. It seems to have a lot to do with their relationship. I actually started videoing them too. For the exhibit I had 88 of the paintings and a video running showing what their relationships showed in posing for a photo.
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SAN: Your mixed media works are intriguing. They are colorful abstracts with the inclusion of tree forms. What is going on in these works?
RR: My strictly abstract expression paintings have developed in to collaged abstract landscapes. Really the same color movement and mark making. These barren trees are another source of marks of lines. SAN: You have lived in Tucson for a while, and you have become familiar with the arts community. What do you think would make life easier for Tucson artists? RR: Coming from Denver, where there are at least ten really good and some very respected artists-run coop galleries, artists may have more opportunities for exhibiting. Like minded artist groups have created exhibit space where they are free to show new work. Coops like these can be some work but over time can develop a reputation for exciting shows and be a “must see” besides a source for artists to have community and encouragement. For more information, go to: http://www.roxannerossi.com/ Artist Studio Cooperative http://www.artiststudiocoop.com/ |
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