Inspired by a series of walks along the Thames estuary particularly around Dartford Marshes and the Isle of Grain, Rosey's work continues her interest in the transience of place, where she has been looking at buildings and spaces we use to navigate and negotiate our personal environments.
The marshes and the river remain constant yet art shifting against monumental structures such as power stations and pylons which temporarily dominate the horizon, until demolished or left to ruin allowing the landscape to reinvent itself. The desolate yet hauntingly beautiful landscape of the estuary presents an uneasy relationship between the semi-rural and the semi-industrial.
Many of Rosey's prints have been made using both additive and reductive mezzotint. The additive method exploits the marks and textures created by the mezzotint rocker and contrasts with the more traditional reductive method. The somewhat laborious process of making the mezzotint plate and the painstaking scraping and burnishing back to create the image seems to me in some way to reflect the subject matter of continual building up and destruction and erosion.