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the thought of stuff
Elizabeth Rosser


I see the dressing up box.

It is full, primed for play, surprise, giggles and pleasure. For one devotee and the box, a glorious matter of unconstrained release, the stuff of dreams. For two or more, a negotiation that runs or halts. Running, a creative provocation, the flying chance of accelerated realisation. Two as one. Three, four, five and more as one. Strong. The halt, no spark, no symbiosis. The peppering of mismatch through (un)acknowledged difference. Antinomies. Separation.

I see the dressing up box.

It is full of stuff. Of beasts and birds and beatitudes. Of ingenious making, of thoughts and thanks, sense and feeling. The extraordinary in the ordinary. Liquid words.

I see the dressing. I see the box.

Between and beyond, if you will, look. There are precious interstices. Sanctums. Reminders to check slippage in perceptions and language. Mating games, a delicate art. One state and another. One place and another. One love and another.

I see the dressing up box.
It is full.

ELIZABETH ROSSER


Playing with prose has made an increasing appearance alongside Rosser’s practice of sculpture/site-specific sculpture. In the run-up to an exhibition, musings, travelling observations, hints of this and that, flights of fancy and imagination take to the page to companion the physical bodies savoured and sung into existence. Rosser has an abiding love of malleability in the play of stuff, and pleasure in the act of fusion. Contact and conversation, the around and about, the maybe(s) and what-ifs, the derring-do of possibility are bedrock in the game.

A Fellowship in 1995 at the Henry Moore Institute, Leeds, provided space for another turning point from which Rosser’s first performed talk, Epiglottis, emerged. This was presented at the Ugly Edge Conference (HMI) in 1998, using script, objects and humour. Developed subsequently in the art school arena, Rosser’s talks increasingly offer a process of improvisation with objects and audience interaction, to deliver prompts, laughter and potential.

Rosser was born in the UK in 1949 and now lives in Essex. She graduated in 1972 with a BSc in Applied Psychology, UWIST. In 1976 she was awarded an MLitt in Social Psychology, University of Oxford. Changing perspective, in 1982 she obtained a BA in Fine Art Sculpture from Central School of Art & Design, and in 1985 an MA in Sculpture, Royal College of Art.

Selected exhibitions

2005
2009
2002
2000
2007
1999
2005
2007-8
2007
1998
2006
2003
2003
2003
1995

2002
1992
2000
2000
1993
1992
1990
1994

Les Merveilles du Monde, Museum of Fine Art, Dunkirk, France
There is no more Butter, STATION, Bristol
Going Continental, Heiligenkreuzer Hof, Vienna, Austria
SubwaySpecial, site-specific, Aldwych Station, London with catalogue
publication including new texts, 2002
Sublime: The Darkness and the Light, Hayward Gallery, National Touring
Exhibition, (Arts Council Collection) to 8 UK venues
Divers Memories, M.O.S.T. (Museum of Site), New Territories, China
Frankfurt Art Fair
The Vauxhall Gardens: on the process of drawing, The Norwich Gallery,
Norwich
Not Nothing Nowhere, The Master Shipwright’s House, London
Touching Matters: Women in Focus Festival, Camden, London
Map Box (Kunst im Natur) after Overgang 97, Jostedalsbreen National
360, Palace of Culture & Science, Warsaw, Poland (94 symposium,
Oronsko, Poland)
Group Show, Clapham Art Gallery, London
Berlin Art Fair
Group Show, Frameworks Gallery, London
Coomes Contemporary, London
Snares of Privacy & Fiction, site-specific, Pitt-Rivers Museum, Oxford
Upturned Ark, site-specific Pitt-Rivers Museum, Oxford
Public Collections
1987 Untitled IV, Arts Council Collection


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Jonathan Callan
Adam Gillam
Wayne Lucas
Elizabeth Rosser
Jack Strange
Esmeralda Valencia
Alison Wilding



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