FULL CV AVAILABLE ON REQUEST
Rosanne Robertson is an artist based in the North of England, working from her Hebden Bridge studio between Manchester and Leeds. Working with drawing, assemblage, performance and sound she explores tensions, anxieties and relationships between body, object, and the environment. Personal themes of sexuality, gender, class, and mental health intersect - overlapping and layering with each part balanced on the other. Lesbianism, Queerness, disruption and the construction of self are main concerns explored via the body in opposition to inhumane dominant structures.
Rosanne Robertson is Director of Dyke/Queer contemporary art project The Penthouse (Manchester/Salford). She has performed and exhibited worldwide from group exhibition Transcript at Charlie Smith London, OutsiderXchanges at Baltic Centre for Contemporary Art (Gateshead), (De)Construction at HOME (Manchester), For Posterity at Castlefield Gallery (Manchester), Threshold at VOID Gallery (Derry), Inside Out/Next Generation at K11 Art Foundation (Wuhan, China) to residencies in New York with Sluice__ /Norte Maar (London/Brooklyn) and The Trelex Residency (Switzerland). She has had solo shows at The Art House (Wakefield) and AIR Gallery (Manchester). Her work has been reviewed by Corridor 8, The Skinny, Double Negative, The Wire and Dazed Digital. Robertson has given lectures on Contemporary Feminism at University of Manchester and performed at The European Outsider Art Association Conference.
Described by Dazed and Confused when selected by Doodlebug as one of the city’s ‘Emerging Ones’ as “working beneath the skin by any means possible”.
Her assembled works bind together found objects, natural materials, metal objects and synthetic materials into temporary uneasy relationships which could un balance or come together. This tenuous relationship is often hinged on a small point of balance- celebrating or showing the fragility of how things are held together in the human mind and also by extension the physical world. Either transcending or combusting or both.
In performance these works are brought into a live dissection- pulled apart during sound making and action in improvised live works dependant on the live moment between artist, object and audience. Sculptures cut from the body during performance are left exhibited as organs without a body.
Ink drawings and assembled works depict masses of bodily features drawn or created in an automatic state from memory, physical feelings and heightened emotional states. Bringing into focus the relationship between the mind and the body drawing on sources of anxiety and bodily manifestations, sensations and memories.
Her sound works has been featured and released by The Wire and her live sound art series based from The Penthouse was described as “Elevating Manchester’s underground scene to the top floor of a tower block” by The Wire.
Robertson’s solo residency project Risk Assessment exploring risk and gender at Centre for Chinese Contemporary Art was reviewed by contemporary art journal Corridor 8 explaining “experiments invoke her chosen themes through abstract gestures; the act of shaving is amplified and grows monstrous with the use of blades and saws alongside shavers, whilst disembodied hair appears as a dead thing. Yet, the gentle and vulnerable act of singing contradicts such violent imagery.”
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