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Work Samples

From There to Here - Excerpt

From There to Here - Excerpt
From There to Here - Excerpt - Interact with the virtual scroll here: https://roseandersonartist.com/blog/from-there-to-here

From There to Here - Excerpt

From There to Here - Excerpt
From There to Here - Excerpt - Interact with the virtual scroll here: https://roseandersonartist.com/blog/from-there-to-here

From There to Here - Excerpt

From There to Here - Excerpt
From There to Here - Excerpt - Interact with the virtual scroll here: https://roseandersonartist.com/blog/from-there-to-here

In the End

In the End - Rose Anderson
In the End - Archival Pigment Print - 36 inches by 24 inches - Rose Anderson, 2018. The composition juxtaposes my photo of the marble statue on the west portico of Hampton Mansion (a childhood likeness of a member of the slave-holding Ridgely family) and crumbling row houses in Baltimore City. I have added the Latin inscription, which reads "Periturus sum", "I shall perish".

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About Rose

Baltimore County

Revisiting my childhood captivity in a religious cult and my escape as a young adult, I re-frame the established American narrative in the context of slavery. Combining my medium of contemporary printmaking with an ongoing series of interactive online content and spoken word performance, I explore themes of material culture and social constructs that mask the pervasive and insidious nature of patriarchy, corporatocracy, white privilege, and institutional racism. ______________________... more

Virtual Scrolls

The struggle to break free from my childhood captivity in a religious cult informed my convictions about the world and continues to drive my creative exploration. To communicate those convictions, I push the mediums of literature and storytelling, honoring those ancient traditions while presenting them in an accessible participatory format on my website. Just as I had to sift, dig, search, obsess to uncover the truth as if gradually unrolling an ancient scroll to reveal more and more of my story, the virtual scroll becomes a proxy for that first-hand experience.

  • From There to Here - Excerpt

    From There to Here - Excerpt
    From There to Here - Excerpt - Interact with the virtual scroll here: https://roseandersonartist.com/blog/from-there-to-here
  • From There to Here - Excerpt

    From There to Here - Excerpt
    From There to Here - Excerpt - Interact with the virtual scroll here: https://roseandersonartist.com/blog/from-there-to-here
  • From There to Here - Excerpt

    From There to Here - Excerpt
    From There to Here - Excerpt - Interact with the virtual scroll here: https://roseandersonartist.com/blog/from-there-to-here
  • From There to Here - Excerpt

    From There to Here - Excerpt
    From There to Here - Excerpt - Interact with the virtual scroll here: https://roseandersonartist.com/blog/from-there-to-here
  • From There to Here - Excerpt

    From There to Here - Excerpt
    From There to Here - Excerpt - Interact with the virtual scroll here: https://roseandersonartist.com/blog/from-there-to-here
  • From There to Here - Excerpt

    From There to Here - Excerpt
    From There to Here - Excerpt - Interact with the virtual scroll here: https://roseandersonartist.com/blog/from-there-to-here
  • From There to Here - Excerpt

    From There to Here - Excerpt
    From There to Here - Excerpt - Interact with the virtual scroll here: https://roseandersonartist.com/blog/from-there-to-here
  • From There to Here - Excerpt

    From There to Here - Excerpt
    From There to Here - Excerpt - Interact with the virtual scroll here: https://roseandersonartist.com/blog/from-there-to-here
  • From There to Here - Excerpt

    From There to Here - Excerpt
    From There to Here - Excerpt - Interact with the virtual scroll here: https://roseandersonartist.com/blog/from-there-to-here
  • From There to Here - Excerpt

    From There to Here - Excerpt
    From There to Here - Excerpt - Interact with the virtual scroll here: https://roseandersonartist.com/blog/from-there-to-here

The Ground on Which We Walk

​My work is to reframe the narrative around these historical artifacts and to put modern imagery into the context of history. Through my photography and my medium of photo composition and contemporary printmaking, I ask: "respice verum," look back at the truth.

So much of American history can be found in sifting and digging through the story of Maryland. I forge across the Maryland landscape to find evidence of cultures long discarded and white-washed by history. Through the camera lens, I investigate nature, land, architecture, relics and material culture. With these images I seek to connect and integrate them within a composition that transcends time, space, history and popular beliefs.

On the grounds of Hampton Plantation, we can be physically and mentally immersed in the true story of our country. If we can open our eyes, we can feel the truth wash over us when we pass through the mansion's opulent doors. We can sense deeply the emptiness of the slave-holding Ridgelys' ill-gotten ephemera.

  • In the End

    Rose Anderson: In the End
    In the End, Archival Pigment Print (Photo Composition), 36 inches by 24 inches, Rose Anderson, 2018. The composition juxtaposes my photo of the marble statue on the west portico of Hampton Mansion (a childhood likeness of a member of the slave-holding Ridgely family) and crumbling row houses in Baltimore City. I have added the Latin inscription, which reads "Periturus sum", "I shall perish".
  • Marble Urns in the Slaveholder's Garden

    Rose Anderson: Marble Urns in the Slaveholder's Garden
    Marble Urns in the Slaveholder's Garden, Archival Pigment Print (Photograph), 14 inches by 9 inches, Rose Anderson, 2018. Marble urns decorate the grounds around the Hampton mansion, the opulent home of the slave-holding Ridgely family where lavish gardens were maintained by enslaved people.
  • Leaf Drowned in a Slaveholder's Garden Urn

    Leaf Drowned in a Slaveholder's Garden Urn
    Leaf Drowned in a Slaveholder's Garden Urn, Archival Pigment Print (Photograph), 14 inches by 9 inches, Rose Anderson, 2018. A fallen leaf submerged in the bottom of one of the marble urns on the grounds of Hampton Plantation.
  • Broken Cupid.jpg

    Rose Anderson: Broken Cupid
    Broken Cupid, Archival Pigment Print (Photograph), 14 inches by 9 inches, Rose Anderson, 2018. Photograph of the marble statue on the west portico of Hampton Mansion, the childhood likeness of one of the slave-holding Ridgelys. I used this photograph with an added Latin inscription (Periturus Sum, "I shall perish") in my photo composition "In the End".
  • The Ironmaster's Providence

    Rose Anderson: The Ironmaster's Providence
    The Ironmaster's Providence, Archival Pigment Print (Photo Composition), 24 inches by 36 inches, Rose Anderson, 2018. The work features my altered photo of the mansion at Hampton Plantation. The bench (circa 1850) is a functional ornament to the lavish gardens, purchased with the profits of forced labor. I have added the Latin inscription "Respice Verum", "Look back at the truth". The background is an interpreted view of a scrap yard in Canton, Baltimore City, formerly Canton Plantation.
  • AtWhatPrice

    Rose Anderson: At What Price
    At What Price, Archival Pigment Print (Photograph), 14 inches by 9 inches, Rose Anderson, 2018. An ornate iron bench that the Ridgelys bought with the profits of forced labor circa 1850.
  • On This Site

    Rose Anderson - On This Site
    On This Site, Archival Pigment Print (Photo Composition), 24 inches by 36 inches, Rose Anderson, 2018. The composition incorporates my photos of a decaying farm site on Maryland's Eastern shore. The iron corn-shucking implement in the foreground was provided for me to photograph by Nanny Jack & Co. and Philip J. Merrill.
  • White Madonna

    Rose Anderson: White Madonna
    White Madonna, Archival Pigment Print (Photograph), 14 inches by 9 inches, Rose Anderson, 2018. My photograph of the statue on the East portico of Hampton Mansion, a likeness of two members of the slave-holding Ridgely family.
  • They Owned Human Beings

    Rose Anderson: They Owned Human Beings
    The Owned Human Beings, Archival Pigment Print (Photograph), 9 inches by 14 inches, Rose Anderson, 2018. Photograph of the mansion at Hampton Plantation, Towson, Maryland.

Biography

I purchased "The Sanctuary" at Long Calm in February 2017 to serve as a studio and home for my artistic exploration. Based within the Forge Road African American Survey District, this is a place where the lives of the enslaved are honored, where the truth about history is told. In October 2018 I held a live podcast recording for Artifactual Journey with an intimate audience in attendance. My location affords easy access to the historical ruins at the river, which are part of Gunpowder Falls State Park, and I have also explored the history of a tobacco plantation just on the other side of the river.

Through the camera lens I embarked on a journey of awakening, from birds, to insects, to the tiniest details of the forest floor as I sought to answer the myserious call of fields, forests, oceans, and rivers. I slowly came to understand that I was called by plea eachoing from forgotten people and whitewashed history: to know the ground on which we walk.

My journey could be compared to a process of becoming bi-lingual: translating in real time the visual language of a world encoded in whitewash back into the language of truth that lies beneath. I live at the iron forges where people were enslaved, just across the river from people enslaved on a tobacco plantation. In the morning I drive to my office where the enslaved once labored on the Canton Plantation. As I continue to spend more time communing with some of the historical artifacts they give up more and more of their secrets, like the iron pieces I find around the crumbling puddling furnace on the Gunpowder. Every detail is a new nuance we have now learned to interpret.

In my work as an artist I have progressed from an exploration of nature to an understanding of anthropology as our part of natural history, in which knowing the ground on which we walk means knowing what remnants of our human past lie under the forest canopy, knowing what the fields, oceans and rivers remember. I have discovered the lives of enslaved people and that this is sacred ground.

  • Long Calm Historical Marker

    Long Calm historical marker near my home on the Gundpowder River.
    Long Calm historical marker near my home on the Gundpowder River, an area where enslaved people labored. The land was confiscated after the American Revolution and sold to the slave-holding Ridgely family of Hampton Plantation in Towson, Baltimore County. Photo: Rose Anderson, 2018
  • Puddling Furnace Ruin

    Ruin of a puddling furnace once run by the slave-holding Ridgely family of Baltimore County
    On the Gunpowder River near my studio, The Sanctary: Ruin of a puddling furnace once run by the slave-holding Ridgely family of Baltimore County. Photo: Rose Anderson, 2018
  • Mill Dam

    Rose Anderson: Mill Dam
    On the Gunpowder River near my studio, The Sanctary: What at first appears to be a natural stone outcrop on the river has been identified by state park surveyors to be the remains of a mill dam. Close examination reveals iron bars protruding from the rocks. The dam is just below the puddling furnace remaining from the ironworks operations. Photo: Rose Anderson, 2018
  • Iron Spikes Protruding from the Mill Dam

    Iron Spikes Protruding from the remains of a Mill Dam, Photograph: Rose Anderson 2018
    On the Gunpowder River near my studio, The Sanctary: Iron Spikes Protruding from the remains of a Mill Dam at the Long Calm section of the Gunpowder River, Site of the Nottingham Ironworks. Photograph: Rose Anderson 2018
  • Iron Bar Protruding from an Iron Puddling Furnace

    Rose Anderson: Iron Bar Protruding from an Iron Puddling Furnace
    On the Gunpowder River near my studio, The Sanctary: An iron bar protruding from the ruins of a puddling furnace that would have been manned by forced labor, contributing to massive profits for slaveholders. Photo: Rose Anderson, 2018
  • Remains of a Mill on Long Calm

    Remains of a Mill on Long Calm
    On the Gunpowder River near my studio, The Sanctary: The remains of an old mill in the Long Calm section of the Great Gunpowder Falls. Photo: Rose Anderson, 2018
  • Dam Abutment, Long Calm on the Gunpowder River

    Dam Abutment, Long Calm on the Gunpowder River. Photograph: Rose Anderson, 2018
    On the Gunpowder River near my studio, The Sanctary: The remains of a dam abutment on the Long Calm section of the Great Gunpowder Falls. Photo: Rose Anderson, 2018
  • Remains of Northampton Iron Furnace

    Remains of Northampton Iron Furnace
    Remains of Northampton Iron Furnace, the ironworks closest to Hampton Mansion where the slave-holding Ridgely family lived, and where I first discovered the connection to my own property, the Ridgely's other iron enterprise on Long Calm. Here they kept hundreds of people in brutal industrial slavery. Photo: Rose Anderson, 2018

Process - Contemporary Printmaking

Pushing the boundaries of printmaking, constantly developing new ways to size, manipulate, layer, and blend my photos in Adobe Photoshop in ways that create depth, perspective, texture and lighting similar to that of classical mediums, I developed a process that I refer to as contemporary printmaking. Every element in my compositions, from the tiniest flowers to the contour of the landscape, is a photograph--sometimes 40 or more individual photographs--that I took, prepared and positioned on a digital canvas. The physical artwork is a pigment ink print on a fine art watercolor rag.

My collection of thousands of images I've taken represents thousands of moments across time and space as I travelled in search of answers I believed I would find only far outside of human constructs. As my exploration progressed, it wasn't enough for me to capture reality; I was compelled to interpret it. Even as I was processing a massive volume of new information about the world and aggregating it toward my own survival, I began aggregating the camera's snapshots of reality to represent a new reality that would transcend the time and space in which I felt myself limited.

To deconstruct one of my photo compositions is to unearth the artifacts of my past. Close examination of these artworks in my chosen medium is a sort of archeological dig. Under the surface are discoveries that can inform our view of those who experience American society as a set of constructs designed to keep them relegated to the margins.

  • Rebirth of the Business District - Rose Anderson - 2017

    Rebirth of the Business District - Rose Anderson - 2017
    Rebirth of the Business District, Archival Pigment Print (Photo Composition), 18 inches by 32 inches, Rose Anderson, 2017. This composition shows the Broom Factory on the Canton waterfront in Baltimore City, at the site of the former Canton Plantation.
  • The Wren Sings a Hymn in the Forest

    Rose Anderson - The Wren Sings a Hymn in the Forest
    The Wren Sings a Hymn in the Forest, Archival Pigment Print (Photo Composition), 24 inches by 36 inches, Rose Anderson, 2018. This composition incorporates my photo of the burned-out ruin of the Pentacostal Church in the ghost town of Daniels, now part of Patapsco State Park. The stained glass is from The Sanctuary at Long Calm.
  • Formerly Cathedral Street

    Formerly Cathedral Street - Rose Anderson
    Formerly Cathedral Street, Archival Pigment Print (Photo Composition), 24 inches by 36 inches, Rose Anderson, 2017. The composition features two photos of gothic churches in Baltimore City.
  • The Pylons Still Stood

    The Pylons Still Stood - Rose Anderson
    The Pylons Still Stood, Archival Pigment Print (Photo composition), 24 inches by 32 inches, Rose Anderson, 2018. The pylons stand between the ruins of the forced labor ironworks industrial complex and the Altvater tobacco plantation near The Sanctuary at Long Calm.

Rose's Curated Collection

This artist has not yet created a curated collection.