Warren Rosser
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Warren Rosser – Passing Over, 2014
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Warren Rosser – Folded Space, 2014
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Warren Rosser – Hinged Reflection, 2003
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Warren Rosser – Opposite Views, 2006
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Warren Rosser – Reflex & Memory I, 1992
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Warren Rosser – Reflex & Memory II, 1992
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Warren Rosser
Biography
Born: South Wales, United Kingdom, 1942
Current Residence: Kansas City, Missouri
Warren Rosser is the William T. Kemper Distinguished Professor of Painting, and recently retired Chair of the Painting Department at the Kansas City Art Institute after twenty-eight years. His recent solo exhibitions have been Parade: Parallel Tracks at University of Leeds, England, and Jan Weiner Gallery in Kansas City; Repeat Offender at Contemporary Art Museum St. Louis; Counterpoint at Epstein Gallery, Kansas City Jewish Museum; Hybrid View at Albrecht-Kemper Museum, St. Joseph, Missouri; and Alternate Tracking at Bemis Center for Contemporary Art at Omaha, Nebraska. Previously he has exhibited at the Tate Gallery, London, at the Kunst Museum, Düsseldorf, Germany and the Galleria Del Cavallino, Venice, Italy, and at the Edinburgh Festival, Edinburgh, Scotland.
Rosser was born in Wales and moved to the U.S. in 1972. Although trained as a painter, for many years he made sculpture and mixed-media constructions. In 1998 he returned to painting. The worked he made during this period was the basis of TO BE CONTINUED… at the South Dakota Art Museum. He exhibited a group of paintings in Hide and Seek at the William Shearburn Gallery, St. Louis and the Jan Weiner Gallery in Kansas City. He has also exhibited at Sherry Leedy Contemporary Gallery and at Haw Contemporary.
“Duality, like the binary structures of the computer, is necessary for communication; to define what we are by what we are not. This is exemplified with Rosser’s use of negative and positive space, and solid and fluid forms. The co-existence of these factors raises questions about our own age and how we communicate and process information. . . The forms resonate across the horizon in a discourse of exchanges, be it biological, ecological or physiological, each are dependent on the transmittal of salient information, where the slightest slippage alters knowledge and direction.”
– Shannon Fitzgerald, Forum for Contemporary Art, Assistant Curator –
Current Residence: Kansas City, Missouri
Warren Rosser is the William T. Kemper Distinguished Professor of Painting, and recently retired Chair of the Painting Department at the Kansas City Art Institute after twenty-eight years. His recent solo exhibitions have been Parade: Parallel Tracks at University of Leeds, England, and Jan Weiner Gallery in Kansas City; Repeat Offender at Contemporary Art Museum St. Louis; Counterpoint at Epstein Gallery, Kansas City Jewish Museum; Hybrid View at Albrecht-Kemper Museum, St. Joseph, Missouri; and Alternate Tracking at Bemis Center for Contemporary Art at Omaha, Nebraska. Previously he has exhibited at the Tate Gallery, London, at the Kunst Museum, Düsseldorf, Germany and the Galleria Del Cavallino, Venice, Italy, and at the Edinburgh Festival, Edinburgh, Scotland.
Rosser was born in Wales and moved to the U.S. in 1972. Although trained as a painter, for many years he made sculpture and mixed-media constructions. In 1998 he returned to painting. The worked he made during this period was the basis of TO BE CONTINUED… at the South Dakota Art Museum. He exhibited a group of paintings in Hide and Seek at the William Shearburn Gallery, St. Louis and the Jan Weiner Gallery in Kansas City. He has also exhibited at Sherry Leedy Contemporary Gallery and at Haw Contemporary.
“Duality, like the binary structures of the computer, is necessary for communication; to define what we are by what we are not. This is exemplified with Rosser’s use of negative and positive space, and solid and fluid forms. The co-existence of these factors raises questions about our own age and how we communicate and process information. . . The forms resonate across the horizon in a discourse of exchanges, be it biological, ecological or physiological, each are dependent on the transmittal of salient information, where the slightest slippage alters knowledge and direction.”
– Shannon Fitzgerald, Forum for Contemporary Art, Assistant Curator –
Artist Statement
Folded Space, 2014
Passing Over, 2014
“This work is about a sense of place – places that exist in the form of a memory, and places of a more recent experience. It’s about the distance between how you relate to one’s current environment and the memory of the past. My early years in Wales with its hills and valleys, architectural structures built on steep terrain. A juggling act of clustered and stacked forms framing the boundaries of particular spaces. Or a recent visit to Berlin with its checkerboard history, Soviet monuments and their massive geometry. The work is about distances near and far, in the past or the present. It may appear on the surface as an abstraction inflected by certain constructive or architectural aspects, but in reality, is a representation of place. The importance of the notion of place is significant for me in that it offers a reflective possibility, where one is coming from and its collective experience. It’s about mapping in which sensations, impressions, atmospheres, predictions are concretized into color, line, and form.”
-Warren Rosser-
Passing Over, 2014
“This work is about a sense of place – places that exist in the form of a memory, and places of a more recent experience. It’s about the distance between how you relate to one’s current environment and the memory of the past. My early years in Wales with its hills and valleys, architectural structures built on steep terrain. A juggling act of clustered and stacked forms framing the boundaries of particular spaces. Or a recent visit to Berlin with its checkerboard history, Soviet monuments and their massive geometry. The work is about distances near and far, in the past or the present. It may appear on the surface as an abstraction inflected by certain constructive or architectural aspects, but in reality, is a representation of place. The importance of the notion of place is significant for me in that it offers a reflective possibility, where one is coming from and its collective experience. It’s about mapping in which sensations, impressions, atmospheres, predictions are concretized into color, line, and form.”
-Warren Rosser-