My name is Rosie Woods. I’m an artist. I’m from London and I live in Australia, but I still spend a lot of time in the UK. I’m mainly known for large-scale street art. It’s typically been very ethereal, flowy, abstract, and colorful work, but more recently I’ve been creating gold pieces and exploring still lifes and more narrative-based work. Chapter 2: Painting Murals for the First Time When I first started painting murals, there was this whole graffiti culture that I was just learning about—like not copying anyone’s style and producing your own work. I really went out of my way to make sure I was doing something different, expressing myself in a way that felt authentic to me and didn’t look like anything else on the streets. I did some really weird stuff in the beginning—things that made sense in my brain, but when I look back at those murals now, they feel quite strange. There were odd shapes and weird floating forms, and I kind of love that weirdness. Since then, I’ve really tried to develop the 3D quality of my work, because I use 3D modeling software and want the pieces to feel dimensional. Chapter 3: Developing 3D in the Work I want my work to feel weighty but also have this ambiguity—like, is it real or is it abstract? I’ve been treading that line between abstract and realism for quite a long time. It’s always been very fluid, with organic influences. Chapter 4: Shiny Things Now I’m in this “gold era.” I’ve always been attracted to shiny things, and I can’t really explain why—I’m like a magpie. I remember when I was younger, growing up in Bromley, there was this vehicle on Bromley High Street that was completely covered in metal panels. I was fascinated by how it reflected the familiar landscape around it. I took loads of photos of those reflections and later painted them when I was at college. Since then, I’ve been really drawn to reflective surfaces. It doesn’t have to be gold—I’ve always used shiny textures—but what’s great about gold is that it’s universally understood and carries a sense of value and preciousness. I like how it gives everyday objects a sense of luster and excitement. Chapter 5: Art and Technology I’m really interested in how art and technology evolve alongside each other. I grew up when Photoshop was just emerging, and we got our first phones around 14—those early Nokias. It was the beginning of the internet era, with things like MSN Messenger. I feel like I’ve grown up alongside major technological advances, especially in creative tools. I started with Photoshop and now work with 3D modeling software, creating visuals that wouldn’t have been possible before. Chapter 6: Portraits into Abstract Portraits were my thing when I was younger—I loved painting them, and I still do, just not as often. I studied fine art, and during that time we came across an art theorist who talked about how abstract work reveals something deeper about human capability. If you paint a flower or a cup of tea, we recognize it. But abstract art is different—it’s a form of expression that doesn’t exist in the physical world. It’s pure imagination, something uniquely human. That idea really drew me in. I wanted to explore abstract work and see what could come out of me that wasn’t tied to the physical world. That’s why I still love abstract art—it feels soul-based, coming from within rather than from external reality. Chapter 7: Sparks the Imagination I hope my work sparks imagination. I like creating that edge where people think, “What is it?” or “I recognize it, but why is it that color or texture?” I want to create curiosity, but also a sense of joy. Ideally, the work feels beautiful or emotionally resonant—something deeply human, even though it may also feel quite digital.