Full transcript. Stuart: "So Rosie, welcome back to London and to BSMT Space Gallery again. You've got a new show. Do you want to tell me about the show?" Rosie: "Sure. So this show is a bit of a sidestepping direction for me. We've still got the gold theme running through the work, but this time I've made a very conscious leap to go from a process that's always been very digital first. I've always used 3D modeling in my process and my practice, very interested in the art–technology intersection. But where things have just been a bit weird and unsettling with technology in the last year and a half, particularly with AI coming in, I just wanted to challenge myself to create a show completely without technology. And you know, I'm a child of the internet, so technology is a huge part of my life, but I just really wanted to try and ground myself again and just see what I could create just from my immediate environment. So that's where this show was born." Stuart: "Because that is quite a difference, isn't it? I remember the last show that you did, it was very much centered around using things like Photoshop and different technology to help create the works, and it could go into all sorts of different spaces then. Yeah. So you're saying you've removed that element for this show?" Rosie: "I mean, so last show in particular, all the paintings started in a 3D model first. So I work in 3D space, bring models in, light it, texture it, do all the composing in that space. I still love doing that. And then from that we can actually animate the work because they are 3D models. I work with an animator to create different moving patterns for each painting, which was really exciting. It's very time-intensive though, and the technology is moving so quickly that I was finding that I wasn't keeping up with the pace of how much things were changing. I'm sure a lot of people in lots of industries are finding that the technology is moving so enormously quickly it's exhausting trying to keep up with it." Rosie: "So that's why I completely stripped that out for this show. With the gold leaves that are the main feature of the show, it was literally a case of asking: what is in my immediate environment that I can pull from? Shapes and objects that I live with. So a lot of these plants are my house plants, neighbors’ plants, vines I've been growing on my balcony, and just working with those natural forms. Then physically painting them gold, photographing them, and then transposing them into paintings. That’s how that side of it worked." Rosie: "And then alongside that we have a very different direction for me. Although my background is also abstract art, we have these very painterly abstract pieces that, although quite different in style to the gold pieces, do talk to one another. In terms of the emotion I'm trying to deliver, it’s about being present in your environment. The painterly abstract works are sort of filtered through my memories of being in places of natural wonder—very inspiring, lots of light-filled work, greens, mossy colors, sunshine-filled pieces reminiscent of taking in the atmosphere of a space. So it’s like I wanted the show to feel like you're going for a walk and you had the overall sense of being in a place of natural beauty, and then noticing objects or details around you." Stuart: "No, I love that. It definitely has a very natural feel, and I like that sense of being able to walk through the show like you're going on some form of a nature walk, but then you've got these abstract works which are very different. You said you've worked in abstract quite a lot, but this does feel a little bit different. Yeah, it definitely is. So tell me more about those pieces and how they've come about." Rosie: "They came off the back of me doing three murals back to back which were very highly technical. I really enjoyed doing them, but they were very precise, very intricate pieces. Honestly, my brain was fried when I got back to the studio and I just needed time. I wanted to paint, but I needed to decompress in a different way. I had never intended to share this work. It was just for my own personal practice—art therapy, I suppose—to unwind and release, and get rid of the tightness from being so technically focused. So it was just a case of paint straight onto the canvas, putting on some good music and going wild. I had so much fun doing it." Rosie: "I was doing that on and off between projects for maybe six months. Then someone came into my studio, saw the work, and really connected with it. I was never going to share them, but that gave me the confidence to think maybe there's something in this. It's a really different way of working—very intuitive, not premeditated. It’s literally how I feel on that day in front of the canvas that dictates how the painting comes out. It felt like a pure way of creating. It’s been a slow buildup of confidence, honing the technique, to get to a point where I felt ready to share them." Stuart: "Was it a bit of a risk putting them into a show like this?" Rosie: "Yeah, definitely. I knew they were well received from feedback in Australia and had sold quite a few, but I felt nervous that people who have followed my career for a long time wouldn’t have seen that style. I didn’t want to confuse people about what my practice is about. But it’s still very much me—just a different way of working out the world in real time." Stuart: "When you're in that process, it feels very free. What’s going through your mind?" Rosie: "I feel like I’ve had two lives. One growing up in London, painting street art, very urban. That’s core to who I am. Alongside that, I’ve always loved nature—hiking, camping, learning to surf in Australia. I think these paintings are like osmosis—memories of natural beauty coming through me, without references, just from experience." Stuart: "You mentioned you're creating a lot of this work in Australia. What's it like navigating life between there and London?" Rosie: "It’s wildly different—difficult but wonderful. My heart is still in England. I feel anchored in British culture. But I have an Australian partner, and I’ve enjoyed experiencing a different way of life—living near the beach, having space. Over time, I’ve been able to marry the two." Stuart: "Do you think your work has evolved because of that?" Rosie: "Definitely. I resisted it at first, but I’ve accepted that I’m allowed to change and grow. My color palette has changed a lot—moving away from bright spray paint colors to more natural, mixed tones. That reflects being surrounded by nature." Stuart: "Let’s go back to the leaf pieces. What’s the process there?" Rosie: "On the gold pieces, I create delicate shadows using transparent spray paint. I use a kind of sticky-back plastic, cut around the leaf shapes, spray the shadows, and then peel it off. It’s quite satisfying—and luckily not too sticky, so it doesn’t damage the paint." Stuart: "What do you hope people take away from the show?" Rosie: "I called it “Digital Detox” because I think everyone feels digitally overwhelmed. I hope people can walk in, see organic forms and natural colors, and just decompress—even for five minutes. It was a detox for me too—removing screen time and working directly with the physical world. It was refreshing, though still challenging. But I like knowing that if my laptop died tomorrow, I could still create." Stuart: "How did you choose the leaves?" Rosie: "No specific symbolism—just what I saw around me and liked. I was looking for natural forms that felt like existing sculptures—things layered, interesting, or meaningful in a simple way." Stuart: "Brilliant. Rosie, thanks very much." Rosie: "Oh, my pleasure. Thank you so much—it was great to talk to you."