“One could argue that Hepworth’s desire to merge with the curves of the natural world is a typically feminine contrast to Smith’s masculine will to bend metal into his own intransigent lines. But a more subtle and exhilarating notion of gender and landscape is elaborated through the art of Rosanne Robertson. One of the Yorkshire Associate contingent, Robertson — who hails from Hebden Bridge — is paired with The Hepworth Wakefield. Her response to the project is “Stone Butch”, a sculpture, film and drawing which takes inspiration from rock formations in West Yorkshire’s Calder Valley. Known as Bridestones, these craggy, wind-battered clefts are regarded by Robertson as “queer bodies . . . fluid as the water that shapes them and as plural as the grains of sand that erode them.””
— THE FINANCIAL TIMES
by RACHEL spence
“She hopes to reveal the “unifying experience between the water in our bodies and the water in the ocean, and to link that fluidity to queerness”. Throughout history, she explains, queerness has been represented as something that is against nature, but forging this connection to water she breaks the barrier between her own body and nature and reinstates her identity. “Nature is ever-changing and we’re all part of it—I’m not saying that only a queer person has access to that, it’s in all of us.””
— ELEPHANT MAGAZINE
“Her work explores the relationship between the material and the psychological through sounding objects and actions, and she describes one important aspect of her practice as the “shared body of the artist and the audience.”
— The SKINNY
by rachael margetts
“Performance series Noise Above Noise elevates Manchester’s underground scene to the fifth floor of a tower block”.
“…the discovery that she could experiment with sound was political in itself…Now sound is a central part of her work with objects and performance, and improvisation is a way of exploring a fascination with “deviance”.”
— THE wire
by frances morgan
Feb 2014 Wire Magazine
“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, and it remains unclear whether the risk will pay off.”
Corridor8 is an annual international journal of contemporary visual arts and writing based in the North of England.
— corridor 8
review of solo residency and exhibition at cFCCA
"Where were queer women during the AIDS epidemic of New York in the '80s and '90s? A new audiovisual work from Manchester artist Rosanne Robertson remembers their role: Be Enraged, Become Explosive, which borrows its title from the wheat-pasted activism of the Fierce Pussy collective formed in '91, premieres today on World AIDS Day—in 19 cities around the globe."
"This is perhaps the ideal expression of what OutsiderXchanges has been trying to achieve, with Finan and Robertson collaborating with what appears to have been an equal exchange of ideas, and while Finan’s learning disability is present within the work, it does not separate him from Robertson, and is no different from Robertson’s own identity forming part of the work’s content."
- double negative
by tom emery
“Rosanne Robertson works within sound, performance, video and sculpture. Her work continuously pushes the boundaries in terms of what these various mediums can achieve in traditional and obscure settings.”
Young Artists in Conversation is an online platform consisting of a series of interviews with the most exciting young Artists and Designers from around the UK.
— Young artists in conversation
“For me Rosanne’s very much a ‘doodlebug’, that is to say, a provocateur who tirelessly works across all platforms, creating work by any medium necessary and who works beneath the skin”
- dazed digital