THE NEW YORK TIMES, Sunday, August 17, 1997

"Signposts in Driftwood" by Barry Schwabsky

"Ms. Rosser... makes dense abstract constructions of wood stripped of its bark and washed smooth by water, most recently a river in Vermont. At its best, her work can be a powerful synthesis of nature and culture. While the works are as imposing physically as any sculptor could want, their intertwining pieces also recall the muscular brush strokes of Abstract Expressionist painters like Joan Mitchell or Willem be Kooning - sculptural objects with pictorial space.

The bare wood has... to do with memories of a bleak childhood, with feelings of isolation and entrapment, but it's more essential that viewers she says, 'the work is about struggle, that it has a writhing quality.' "


NY ARTS MAGAZINE, January 7, 2010

"A Place for Beauty" by Anne Swartz

"'The sculptures are determined by the available pieces of wood,' Rosser explained. The final results in most of the wood works are a calligraphic, linear quality - like handwriting in the linked and laid pieces of wood of her sculptures. Evident in her wall sculptures is a connection to many of the 20th century painters who freed line from description, such as Jackson Pollack and Cy Twombly. Rosser takes the emancipation of line to the next level...The line of the forms seem to follow throughout the composition, breaking and undulating, recalling their surging through water.

On one occasion, Rosser stacked them like a conventional vertically-oriented totem, showcasing some of her influences, both acknowledged and unconscious. Much of the direct and immediate primacy of the materials in her work recalls both West and East African art, examples of which are evident in her environment. Rosser acknowledges an affinity with sculptors like Louise Nevelson, which is evident in the small pieces, as well as in the totem-shaped work.


AS IF ALIVE: ANIMATE SCULPTURE, September 10 - October 29, 2000

Sara Lynn Henry, Curator
New Jersey Center for Visual Arts
Summit, New Jersey

"These denuded wood bones are arranged in emotionalized nexes of seeming particularized feelings...This is not read but experienced as a pulling inward and pushing outward. Yet what is more surprising is that these elements seem to be specific animate beings as if the swarm of emotions we experience is a moving, pushing, reaching, intertwining, striving gaggle of living presences - more "other" than self. It is this otherness that makes for the depth presence of all things."