We, Adam and Rosalynn Rothstein, are a partnership, both co-habitating and working together. Our artistic and conceptual interests are in a process of merging to a cohesive narrative.
Much of Rosalynn’s current influence comes from the practice and methodologies of Ikebana–the Japanese art of flower arranging. She holds a fourth grade teacher’s certificate in the Sogetsu school. The founder of the Sogetsu school did not see a boundary between sculpture and flower arranging. The floral arrangements of students in the Sogetsu school utilizes flowers and “unconventional materials” under the condition that floral arrangements can be made by anyone, using any material at any time. Rosalynn’s work in the academic field of folklore also informs the partnership’s thinking about vernacular practice and the relationship between tradition and innovation in the fields of art and craft. Her own artistic work also involves weaving, natural dyeing knitting and other modes of manipulating fiber.
Adam writes about politics, media, and technology. He is most interested in the canons of history and prediction, the so-called “Future-Weird”, and the unstable ramifications of today’s cultural technology. He is interested technology-based art and the interaction between manufacturing technology and craft. This includes the social aspects of production and art–not only art’s effect on society, but the work of production’s effect on society. He studies, maps, and illustrates how infrastructure and technology work together to form the bedrock of human social conditions.
We produce large scale, immersive installations; small, intricate pieces; and conceptual work that extends outward from its form with both idealistic and electromagnetic rays. We regularly work with re-purposed and re-used material to intervene in the typical human material supply chains, and create feedback loops that educate and initiate the viewer through aesthetic means, to intercede with our collective notions of what object are, what they are for and where their value lies. We conduct small scale, everyday magical experiments, to see what forms of aether currently have speculative capital in our technological, catastrophically inclined world.