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Truth In This Art (Sounds)
Only a couple months no longer. Don't you? I think I recognize.
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Rob Lee
Welcome to the truth in this art. Your source for conversations at the intersection of arts, culture and community. These are stories that matter. And I am your host, Rob Lee. Today, I'm speaking with an interdisciplinary artist whose work caught my attention at this year's Spring Break Art Fair in New York. Working primarily with film materials, their sculptures envision a post-human world shaped by ecological collapse, where the 99% mutate into growths on discarded tech after the 1% escape to Mars.
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Rob Lee
Blending absurdist humor with a sharp critique. Their work explores disaster and adaptation through assemblage, gadgets and improvised survival tools. I am pleased to welcome to the program Rosalie Smith. Welcome to the podcast. Much? As if we weren't having a conversation before I hit the record button. So kind of setting the stage and opening things up. I first saw your work back in May.
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Rob Lee
I was up in New York for for spring break, and it was interesting. I usually go up for some of the fairs, and it's always one fair that I go to. And I had an interview with a dude. DJ period Barnett because he tells me to say DJ period. Down here and he's like, you got to go to spring break.
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Rob Lee
You're going to see some interesting stuff, you're going to see some interesting work and you were one of the artists whose work I saw there, and it hooked me. So I was like, let me reach out. And then you were like, sure. I was like, this is how this works. So for the folks who haven't, you know, had the opportunity to see your work or who are hearing about you and from you now for the first time, how do you usually introduce yourself and describe the work that you make?
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Rosalie Smith
Well, I'm Rosalie Smith is my name. I'm, I kind of an introduced. I used to describe myself as interdisciplinary, but my. I guess my work has really been focused on sculpture lately. I make sculptures out of found objects, that I collect kind of constantly and organically. I don't go to, like, the downtown to get my materials.
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Rosalie Smith
I'm just like, it's almost like a meditative practice of, like, constantly acquiring and noticing, like what's being discarded. And I started to really deeply understand my environment through that material record. And then to give a like a kind of one liner about my work, I think, I think that the sculptures have really taken on this like science fictional narrative or I'm thinking a lot about, kind of microplastics becoming microplastics, an unsexy singularity, in which we've sort of become our bodies have devolved into almost like cancerous growths upon the waste we have left behind and merged with plant life.
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Rosalie Smith
And even though these themes are kind of dark, I think there's a lot of joy and whimsy in the work. It's not like completely pessimistic work. It's sort of like a fantasy article vision of whatever that might be. Yeah.
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Rob Lee
Yeah, the sci fi element comes through. Definitely seeing seeing that. And that's that's the thing that that that struck me, as you probably could tell based on the conversation around beforehand, a bit of a nerd, so that that was sitting there and then, reading over, you were, you know, so, nice to send me over your thesis and just other, you know, elements to kind of read over to get a better taste.
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Rob Lee
And, you know, I kind of got this sense of humor that's in there. And one thing that sticks out is this, you know, the sculptures imagine a world where the one person is escape to Mars, and the rest of us have grown on potholes of tech trash. To paraphrase a touch. So what holds you towards that?
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Rob Lee
And sort of like viewing it in that way, because the way you were describing it a moment ago, I was thinking of, had a sci fi movie in my head. I was thinking of like they lived for some reason. I was like, yeah, yeah, I'm one of those people, and.
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Rosalie Smith
I've got to check that.
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Rob Lee
Out. But the sunglasses on, you see people in a very weird way.
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Rosalie Smith
What am I talking about? So, yeah, I guess I can you could, you could it's can you repeat the crux of the question for a second? Sorry. I'm a little headache right now.
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Rob Lee
Same sinuses are going crazy. What pulled you to towards these themes? That you're you're discussing? You mentioned the the microplastics in the microplastics and that those things will.
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Rosalie Smith
Have an answer. Yeah. It's, I would say it's my anxiety. I'm an extremely anxious person, and it's very easy for me to take a contemporary fear and then bring it into a really extreme fantasy realm, because I my brain works so fast when I'm worrying. So thinking about microplastics, it does not take long for me to think of like a Wi-Fi router growing out of my arm or something like that.
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Rob Lee
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Rosalie Smith
But I think that anxiety sci fi is is Janice's point is, is almost always like fears of the future, fears of of the present being cast in the light of the future. So like, which I think I, I quote somebody writing about that in my thesis essay. But yeah, there's, I think that it's a coping strategy you want to like, I think if you look through the history of like, film and fiction, you see a lot of like trends, like vampires, for example.
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Rosalie Smith
Oh, like always trend when we're in, like economic collapse, periods of economic collapse. And then zombies trend, I think when like, fascism is on the rise or something like that. Yeah. So there's sort of like these mirrors in us, I think, like space travel. It's like more like or space outer space themes. Alien themes are more like popular when there's, like more of a threat of, like, nuclear disaster.
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Rosalie Smith
I mean, we also see UFOs. It's like more often when there's a threat of nuclear disaster. So that's interesting too. But yeah.
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Rob Lee
That that's that's good. Because again, you know, like this is my lane, you know. Right. Like an alien TV show dropping soon. New predator dropping soon. 28 years later drive is saying like just out know just everything is around us. And you know, as a anxious person like myself and, trying to navigate. So I stay busy, you know, and that's one of the things that I do, and I do the deflection thing and I use humor and, and part of it maybe just you want people to like you and it's like, you know.
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Rob Lee
And you make but making good work is a big piece of it. And trying to, examine something that is a thing that elicits a response from you. Right. So for me, and I've said this on this podcast, and I'll continue saying that the sort of climate that we're in, now as far as who's, you know, running this country or God brewing in this country, how are you want to describe it?
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Rob Lee
Is is sort of the part of the the driving force behind making this, this podcast, you know, was just some really weird things being said about Baltimore, where I'm at and I'll say where you're talking about the people, you're not saying it specifically, but you're talking about the people. And I thought the best way to go about it was hitting across each of the people to have folks share their story authentically, and it's kind of spurned, and it's spawned into something larger that's still at the root of it is folks sharing their authentic stories.
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Rob Lee
That's really what it is. And I think art is something. Art and culture is something that unifies all of us.
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Rosalie Smith
It is. It definitely is. And I think, I think what my role in the as, I guess, I think it's very important for art to challenge the way that people approach the world and then like, kind of like creating these like fantastical reinventions of, like, discarded objects. I think that one of the best outcomes is that it sort of inspires things to approach, like the world or people to approach the world around them differently, the material world, but also the social, political world as well.
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Rosalie Smith
I think that there's a lot of in a way, there's like an optimism in the work. I was really into, this essay by Donna Haraway called Tentacular Thinking, where she sort of presents like Multispecies models is how she describes them. Like composting the idea of the human and, like, just embracing, an interspecies interconnectivity. So I think that's like, I think that way of approaching the future and sci fi has as sort of one of the things that gives the work a little bit more optimism.
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Rosalie Smith
I often have a lot of real and artificial plant life in the work. Which I think comes from like, like I think it would actually be really beautiful to be part plant. Like, I think that that actually seems like a good direction for the human race to go to, like, become, become one with like, ferns and stuff like that.
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Rob Lee
Might be turning into a rapid fire. Questions.
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Rob Lee
So and any you touched on it a little bit and it maybe it's maybe you're using it in the same way that I do. But sort of the, you know, having things that are sort of dark that, you know, something, some things that are very absurd and, and frankly, very funny, like that comes through in your, your, your, your thesis essay as well.
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Rob Lee
And even in the work. So all of those come to mind when I think of your work and when it comes to sort of something that is dark, the idea of like an ecological crisis, it brings it brings up the levity, but also is very thought provoking. So was humor always sort of inserted in that, or is it just a natural thing within your work and how you present yourself as an artist?
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Rosalie Smith
It's something that I intentionally started to cultivate. Before going to grad school, I had just finishing my MFA at Hunter, who for those who who don't know, but before starting grad school, my work had become very centered around, grief and the experience of grief. And like, the temporality of life, a lot of which was in response to my mom's death.
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Rosalie Smith
She died when I was 25, and I just, like, really use my artwork and shifted my focus towards, like, the material world, like the material wake of her life. So like, everything that she left behind, became like the materials that I, I used in the sculptures, but I by the time I got here, I had gotten really sick of only thinking about, like, feeling like I almost like, had to make my work sad in order for it to be mine.
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Rosalie Smith
I wanted to, like, create a more emotionally complex, experience for the viewer. And I also felt like using humor and joy was a bit more real, like an as an incentive. If it's if you like, in an approach to grief. Because one of the main ways that I've coped with grief in my life is through jokes and, I think at this point it was sort of like.
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Rosalie Smith
So I think when I started to try to like, bring it in, what it is has been a bit more natural than I thought it would be. I was always afraid that, like, whatever joke wouldn't land kind of saw. But, I think I really like unlocked some like, kind of like intuitive way of making things in the studio.
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Rosalie Smith
So like the jokes are almost sometimes they're like almost like dumb, like putting like a chandelier, like a little Barbie chandelier off of something. Sculpture that hangs from the ceiling or something like that. So there's like this, like, but they but that's what sort of intuitively comes up and it does make people laugh. So that's a nice thing about it.
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Rosalie Smith
And also I think there's, an innate humor in some of us try like buzz balls, for example. Like they're just like, there's just some funny objects out there, and there are like vapes, like they're just sort of like iconic of our time, but they're like. And they're everywhere. And people throw them away like they're cigaret butts and they're obviously you're not.
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Rosalie Smith
So yeah, I'll make like a weird creature holding a vape and like, there's something just sort of funny and relatable about that. Or you when you use like these objects that we're really familiar with, you put yourself in the position of, like the sculpture, holding it or using it or with it. There's like, I think there's like a natural mental space switching or role switching that happens with the sculpture or the object.
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Rosalie Smith
Yeah.
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Rob Lee
That makes sense. And, and thinking of it and even how you're describing it, there it is. Yeah. You pull up the Baltimore. Is that your work with that in very well in various areas. I, I just see it. It's just like because that's when I, when I, when I saw it initially I was like, all right. Because like because I think I saw you and I was like, I'm not going to talk to the artist because I'm very shy.
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Rob Lee
And I was like, I need to do a speed run, I need to run. And somehow I booked like seven interviews and the 30 minutes I was in there.
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Rosalie Smith
So, okay, that's great. That's great.
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Rob Lee
And and it's sort of like finding the people. But definitely I think you were the first one that I reached out to, like just pulled up the phone. Phone's dying because in Aquarius and I'm told that my phone always is dying. It's like perpetually on 8%. But you know, let me hit this. This is real quick. And, and also let me, let me, let me say this because you mentioned it.
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Rob Lee
I want to bury it. You know, congratulations on wrapping up that MFA. Congratulations.
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Rosalie Smith
Thank you so much. Yeah, I'm really, really happy I did my MFA at Hunter. I loved my faculty so much, and I waited kind of a little. I don't know, I don't know when's the normal time to do an MFA, but I think there's a lot of pressure to do it kind of in your 20s. And I'm in my early 30s right now, just finished it, and I feel good about that.
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Rosalie Smith
I think it was it was the right time, just had some life experiences. It kind of informed the work, and I'm excited to be done. And moving on to the next chapter. That was a lot of work.
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Rob Lee
Go into that experience a little bit. Like, how did that experience sort of challenge you? And it may be sharp in how you approach your work or even certain facets of your process in your work.
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Rosalie Smith
Well, I, I feel like I learned a little bit from each each faculty member that have sort of, like, shaped me. Jesse Reaves really pushed me to make things stranger, like, just kind of like, lean into, like, what's really. Yeah, I guess strange is the word, but, like, just like, lean into the things that are kind of mysterious and formally challenging about the work, like whatever is making it look like kind of visually unique, like that's something like worth exploring.
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Rosalie Smith
And then, Mary Ward is, was a kind of a great professor of mine, and he, he sort of encouraged me in this, like, found object direction. But also kind of helped get me to this point where I was working at more of like an architectural scale. And I would say, like Andrea Blum also helped with that.
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Rosalie Smith
Danielle Bosch curve is probably like, if I am if I ever become a professor, I think he will be the person that influences the way that I would like to teach. Like the most, I really love his style. We would have we would all eat together, like everybody would take turns cooking and we'd eat together. Every class in the middle of critique.
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Rosalie Smith
So there was like this real, like community building component of it. It wasn't like we were just coming in and like, going at each other's work and then like, without any connection, like we felt like it feels like it was the class is, like, really intentionally constructed to like, get to know each other and his, his class, but I think, like, for me, it's sort of, well, one, I hadn't lived in New York City before, so that was a very tough transition for me.
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Rosalie Smith
Initially. I really had a hard time coming from New York, New Orleans to New York. But it sort of blew everything open for me to I hadn't really I didn't I don't feel like I knew how big the art world was before or really, but it's like so present here, and it's it's really exciting. So I got to see just seeing so much artwork, seeing like really expanding my ideas of what an artwork can be.
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Rosalie Smith
I think of something that happened in grad school and in New York, unfortunately, I do think that like one of the downsides of Hunter is that it is like it's an upside and a downside. You're in Tribeca, so you're in like kind of like the center of the art market in a way. So it's very hard to, like, not let that enter the studio with you.
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Rosalie Smith
But I think throughout the process, I mean, I think there were there were a lot of times where I was extremely anxious about selling my work or like my financial future, and I've just sort of realized that I have to leave that at the door. For the most part, like, I, as soon as I leave, I can pick it back up and I can kind of be like hustling and applying for as many things as possible.
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Rosalie Smith
And trying to get in touch with as many people as possible. But I really can't let those anxieties affect the work I make, because it's just it's just important to, like, put this kind of work to allow your, your vision to come to fruition.
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Rob Lee
That that's that's a really good point. And I actually was taking this, this note down. It's generally a question that I write, but I think it's going to be more of an observation here because I think you're on the on the button right there when it comes to your work. I think, you know, our uniqueness, our strangeness, those traits that make us who we are.
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Rob Lee
That's the thing that as we move forward to go into the future or even the present, that's the things that's going to separate us. Yeah. You know, from all of this, this different stuff. I think about it as well. I started to joke like, you're you're thinking about the hustle. And so to the Market Tribunal podcast and for five minutes you this bro, it's like, oh and in in in in doing this my my partner, she says to me all the time she's like, you know and she and she gets it, you know where I was like, yeah, I'm running into this.
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Rob Lee
I'm having this issue and so on. She was like, well, you know what it is to be an artist now a little bit, you know, finding that financial strength, and this, this other component of you're trying to make this work and this is the work that may be, you know, unpopular or people may not get it or whatever it is, but the process and the work is for you.
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Rob Lee
And that's the I thing I had to remind myself of these selfishly, these conversations for me, for me to sound more interesting when I reference you in conversation later.
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Rosalie Smith
I like.
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Rob Lee
That.
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Rosalie Smith
Are you an artist?
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Rob Lee
I did paint, and I was an illustrator when I was very young. And I wrote and rap for a little bit. The rap thing. I will never release any of that. There were some bad raps out there that's called that.
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Rosalie Smith
They say if you're not embarrassed by your early work, then you're not trying hard enough.
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Rob Lee
So the certainly I approach doing this, I joke that this is my longest stable, stable, this relationship, and this is and I and I approach it with an artistic sensibility. I think it's somewhere between an artistic approach, archival and journalism and, where I like to sit it out. So when I'm talking with folks and talking to folks about it is like I wanted to be treated like that because I treat it in that way.
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Rob Lee
It is, you know, it's not an attempt to try to say, hey, I'm on the same level as this, but I know that there is some, medium, maybe classism, you know, that happens of, oh, yeah, dance doesn't count. It's like you sure. As far as is this valid art or not?
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Rosalie Smith
Totally. Totally. No. That's such a thing. Yeah. No, I'm I'm. I think I'm not, I think I can be guilty of that at times, too. My friend was my my partner was talking about a, like a mutual friend of ours who's like a model. And, I was like, modeling is not art. And he was like, no, babe, that's it.
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Rosalie Smith
It's like a it's a craft. It really is.
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Rob Lee
So it's it's definitely, you know, it's it's almost like who you're asking I suppose at times and. Yeah, there is a tier it out there is a sort of rarefied thing. And even some of the feedback that I got during Art week when I was up, you know, in New York and talking to some of my friends who live up there and who visited some of the other shows and like, you know, it's a lot of paintings.
00;23;06;08 - 00;23;33;15
Rob Lee
It is a lot of kind of mediocre work. I was like, ooh, shots are coming out. And so they asked me when I was up because they know I always go up. And I was just like, wow, spring break. I don't know what I want to do. I saw some interesting work. That's all types of different scale. I think right after I saw some of your pieces, I went over there and to another artist this spot who had, like, he did paintings, and I was like, that's a penis right there.
00;23;33;15 - 00;23;50;02
Rob Lee
I was like, oh, there's like a lot of panel in here. That's like, are you painting ex-lovers? And I was like, is that what this is? And I was like, yeah. So, you know, I want to talk to you about your work. And I was like, really got the shading right there on that, that shaft. My guy like, this is.
00;23;50;04 - 00;24;10;14
Rob Lee
And we had a really funny conversation about it and you know, and I was like, these are more of my people. This is more of my vibe. And you know, you touched on the that shift the size of it, being in New York. And while I was up there, I interviewed an artist, who was in Atlanta and all of that.
00;24;10;14 - 00;24;31;17
Rob Lee
She was in Atlanta when I initially chatted with her earlier in this series, and she's since moved up to New York, and she was just talking about just being up there, being in the centers, if you will. The hopes and I hope again, it's like I romanticize two places. It's usually New Orleans, but it's now New York is shifting in that way from the media and from the sort of access and being in and around it.
00;24;31;20 - 00;24;32;13
Rosalie Smith
Yeah.
00;24;32;15 - 00;24;42;15
Rob Lee
You know, sharing sort of that experience you were touching on sort of like, being around here, being like right there in the middle of it while doing the MFA. It's hard.
00;24;42;17 - 00;25;05;29
Rosalie Smith
It was hard. But I think there was also like kind of necessary because I had been living like a very blissful, aware life in New Orleans for so long and I'm happy. And then it now it's it's all all the sacrifices paying off. I'm showing my work a lot and opportunities are coming up, so I'm very happy about that.
00;25;06;00 - 00;25;21;19
Rosalie Smith
Yeah, I just opened two shows, one yesterday and one on Sunday, and then I have another show up at the Gardner Art Center in Gardnerville, New York, and I have another one opening up for upstate Art Weekend in July, too.
00;25;21;20 - 00;25;22;25
Rob Lee
So you're.
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Rosalie Smith
Plugging all of those shows so people come to them and.
00;25;25;25 - 00;25;44;28
Rob Lee
We have a shameless plug, section two. So we'll be going back into those, booked and busy, as they say. Right. Exactly. So I want to move into sort of these next two. Then I want to talk about your thesis a little bit. So with the found materials, do you, specifically. And I know it's like a sort of a passive thing here that you were touching on.
00;25;45;00 - 00;26;05;10
Rob Lee
But is is it something that's an ideal lead, or is it, Hey, I want to maybe explore this or present this. You touched on the the chandelier, maybe with the Barbie in there. Yeah. So, like, in sort of maybe the, the search for maybe different piece is kind of keeping an eye up somewhere, but not intentionally.
00;26;05;13 - 00;26;15;06
Rob Lee
How is that relationship changed like over that time? Has it gotten a bit more sharper or has it gotten looser as far as all right, I think I'm gonna grab that.
00;26;15;08 - 00;26;42;10
Rosalie Smith
I think it's gone. It's ebbed and flowed, but initially, like when I was in my early mid-twenties making the found object work, it was very focused on it was a lot more didactic, I would say. I'm not saying that that can be used pejoratively and I don't. I don't think the work I was making was bad, but it was, I was looking to tell like a really specific story at that point.
00;26;42;10 - 00;27;28;11
Rosalie Smith
So like one of the first like, found object works that I made was the series out of. The artificial flowers that were put on graves in New York and New Orleans and that would like, then get like whipped away by the wind and end up in the gutter really tattered and dirty. And so, like, I think that for me, that was a really poignant gesture because there was like, there's an obvious desire to, like, make use the artificial flowers because there's this idea that they will last longer and that it will be like a more permanent, expression of like love for the person that's died or like that will, like, embellish their grave
00;27;28;11 - 00;27;32;01
Rosalie Smith
in this way that will.
00;27;32;03 - 00;28;09;06
Rosalie Smith
Be significant and lasting. And I, I found that to be really poignant, especially, I think, in the context of, like, I started making that work while my mother was like, getting radiation and chemo. So there was like, there's like also this, like artificial effort to sustain life that kind of reflects like that's like deteriorating her body as it's being done and as the same way that like the production of plastics is like one of the things that's like, like poisoning our environment and killing our environment and stuff like that.
00;28;09;12 - 00;28;37;14
Rosalie Smith
So there was something like really specific and storytelling about that body of work. And then that tightness was really a thing up until probably like the like eight months before I maybe a year before I came to grad school, I was like, I need to loosen up. And it was very gradual. The loosening up. But then once I got to school, I was just like, I'm going all out.
00;28;37;16 - 00;29;04;03
Rosalie Smith
And now that I've like, developed a little bit more of like a style in the way that I'm making things, there's definitely like there's objects that I'm always going to grab if I see them. For example, like almost all my wall works are made on like metal shelving or like racks or grids or something, or like I have a nice round one up at MoMA projects right now that's like built on a metal fan cover.
00;29;04;05 - 00;29;05;28
Rob Lee
Yeah.
00;29;06;00 - 00;29;14;29
Rosalie Smith
So that kind of thing. I'm always going to grab, buzz balls. I almost always grab. I feel like I'm finding like a Pokemon ball when I.
00;29;15;02 - 00;29;16;08
Rob Lee
Drink.
00;29;16;10 - 00;29;34;18
Rosalie Smith
You one in the wild. A lot of tech trash. I, I grab all of the wires that I see because I feel like there's few like, more visceral portrayals of our contemporary situation than just like a pile of tangled wires.
00;29;34;20 - 00;29;38;27
Rob Lee
Like, that's my studio currently.
00;29;38;29 - 00;30;04;12
Rosalie Smith
Everybody has a drawer of tangled wires in their house. Now, I cannot, there's colors and that I, I am drawn to over and over again. Like, I love, like a really bright yellow or chartreuse sea green, red magenta. Like this. Really like highlighter. Very toxic looking colors. I really like,
00;30;04;14 - 00;30;33;01
Rosalie Smith
I, I think I shells. I'm a big shell collector on the beach. Yeah, yeah, I you know, I think I allow myself to be delighted by what I collect. I think that's like the big thing that guides that sometimes I'm guided by maybe some kind of meaning. But a lot of the time when I'm building my work, I'm trying to obliterate whatever that meaning might be in a way, so that it becomes like more of a.
00;30;33;03 - 00;31;03;29
Rosalie Smith
Process of discovery. Like, you see the thing you conceptualize it as just like a whole creature or environment or whatever I'm creating at the time. And then you kind of go into the details and you're like, How does this little object add something to the story? Or like, but I'm interested in creating a mystery really, more than anything, I think I want it to be, open so that it's more of a journey for the viewer where I'm not really telling them what to think.
00;31;04;01 - 00;31;04;24
Rob Lee
Yeah.
00;31;04;26 - 00;31;06;06
Rosalie Smith
Yeah.
00;31;06;09 - 00;31;24;13
Rob Lee
Is there sort of an inkling in a particular place you were touching on sort of the, I was jokingly calling them call them, Penguins or the sort of apes or what have you. It gives you a sense of. Right. Oh, something weird over here. And last night. This is where I'm seeing all of these objects.
00;31;24;13 - 00;31;41;13
Rob Lee
I've seen ten of these are what have you in? You know, as I was, sharing earlier, I was, you know, in New Orleans earlier this year, and, like, I was there for Mardi Gras for the first time, and I was just I have like, I think I have three altars in. I got two in the studio and one in the bedroom.
00;31;41;15 - 00;31;59;06
Rob Lee
It's goofy coins that I caught and it's in sort of the colors were happiness, right? There is one of the altars because like I said, it's one of the places I was like, oh, coins this year. Oh, some of these are old or wooden ones and all of this sort of sort of funny. Yeah. It gave me sort of some context because some of them are old.
00;31;59;07 - 00;32;26;15
Rob Lee
I was like, oh, you've repurposed this and, you know, sort of that. But I'm always kind of remember sort of that time that year or what have you. It's something about it. But it was telling me about maybe the theme or what. Have you ever given the year. So in some of the found objects, you know, maybe is there an area or is there a specific thing that you're seeing more of an uptick on, or any like themes that are presenting themselves and kind of what you're finding in this passive way?
00;32;26;17 - 00;32;59;19
Rosalie Smith
Well, I have a nice little anecdote that I often tell about, like the green baseballs balls, because they almost all come from this one inner section of, like, an owl. And like I kind of I go by there and every few days they're regenerated. There's more out there, I collect them, and I've developed almost like a symbiotic relationship with somebody that I imagine is just going and like, maybe it's two people, just like crushing a few green buzz balls after work, leaving them out for me.
00;32;59;21 - 00;33;37;09
Rosalie Smith
And like, it's gotten to a point with the observation where I'm pretty certain they must be Catholic because the during lent they stopped appearing and then they started reappearing after it. So I'm like, I'm like learning this person and learning about this person via their waste in this really interesting way. Another like, moment of inspiration on the subway a few years ago, I think about this, this like thing I saw often, but I like I just it was very late at night or like 1:00 am.
00;33;37;09 - 00;33;59;28
Rosalie Smith
I was coming home from the studio super late, got on the one train and the door opened and it was just this, like chaotic spray of, equal packets that had been ripped up and the sugar poured out and then like, torn out Bible pages. And it was just like this, like whoosh of those things. And I was just like, what happened here?
00;34;00;02 - 00;34;29;08
Rosalie Smith
Oh my God. So that kind of thing is really exciting for me. I'm like often in those moments in public. But then also like sometimes in terms of like shrinking, like I do, I still incorporate things that belong to my mother or things that have like a sentimental value, like the sculpture that I'm working on right now has like, concrete casts of like, work gloves that were my, my dad's work gloves.
00;34;29;08 - 00;34;50;01
Rosalie Smith
Not that I like. He only had, like one pair of gloves. He was a contractor. He went through them all the time, but they did belong to him. So there's like some, like significance in that. I used my mom's hairbrush and one piece, but I, I won't, I don't like I if somebody bought it, I would not give them her hairbrush.
00;34;50;01 - 00;35;20;25
Rosalie Smith
That's way too sentimental for me. So there's like these things that I know that, like, if a viewer is interested in kind of like exploring the materials in the deeper way, there's like, you can kind of get more out of them. I hung that hairbrush on one of the satellite's pieces that I've made. I've made I think it's like 3 or 4 pieces that I consider satellites, maybe five.
00;35;20;27 - 00;35;50;27
Rosalie Smith
But the satellites all come from this sort of like period. Like some of my. It's like my family tragedies, but like a few months, like eight months before my mom died, her brother disappeared. And we we've never found him. But, between, those two, tragedy is I started to like, think about the form of satellites, like, really deeply because they were these, like, hyper powerful, like, communication devices.
00;35;51;02 - 00;36;14;21
Rosalie Smith
So, like, one of the ideas in making that form is that maybe I'm, like, making something that is, like, powerful enough to reach them or communicate. And they're dimensionally. But it also fits into my other narrative where like, maybe this is how we're trying to communicate with the one person that's abandoned us on Earth there.
00;36;14;23 - 00;36;40;15
Rob Lee
There's two things I got, one you illustrated really, really well. The equal package. So I was like, yes, religion artificially sweet. I think that's a J. You know, the writer, the writerly, critical way. It's like you don't know what you're talking about. And then the other thing more, pointedly. So, my, my my brothers, you know, I have a brother.
00;36;40;15 - 00;37;07;23
Rob Lee
He he's okay. But back, probably ten years ago, he had a, pretty bad health scare. You know, kidney failure and, we will die, and he's going to die. Yeah, he's my younger brother. And so it's one of those things where I was in this spot, really trying to process what could happen, you know, and really, with the angst, with the anxiety, with the sort of the overthinking of it all.
00;37;07;26 - 00;37;27;28
Rob Lee
And, I was reading more. I'm not a huge reader, more of an auto audiobook guy, but I was reading a lot of Philip K Dick at the time. And, you know, and I think it was, do androids dream of Electric Sheep? That's what I was reading at the time. And so this idea stuck with me.
00;37;27;28 - 00;37;44;04
Rob Lee
I think that's in there, maybe in one of the other pieces I was reading at the time. But what is real? So I have this sort of, you know, those little cheap fake, oh, like, marquees that you can. I have one of those right before I head into the studio, and I've put in there what is real. So I'm seeing it every.
00;37;44;06 - 00;38;03;00
Rob Lee
And so when I get caught on this thing of, oh, this sucks or blah blah, blah or whatever the thing might be and like, well, what is real? What are you really, you know, you know, hooked by or what's really bothering you, what's really sitting there. And it's like accepting the essence of a particular situation.
00;38;03;03 - 00;38;26;29
Rosalie Smith
Right? I think that's also a nice way to we even sci fi with grief because there's like, I think it, there's like a question of like the finality of death or like what, what really is like the boundary of the universe or our lives or like, it's something that I think it's a kind of questioning that is part of, you know, being a religious person, which I'm not.
00;38;26;29 - 00;38;42;01
Rosalie Smith
But like, maybe there's a, connection to, like, just like, yeah, being interested in sci fi. Well, you might be losing your brother there. It seems like there's some legit, like, crossover and questioning that happens there. Yeah.
00;38;42;04 - 00;39;07;19
Rob Lee
The fantastical nature of it. And it was really funny. You might like this little other detail with it. I was working at a Jesuit college at the time, so I would be in the chapel doing that side of like one of these lapsed Catholics and then just like, okay, I do this sci fi thing. And I was like, at the at the altar of, PKD, where we're doing this.
00;39;07;22 - 00;39;09;14
Rosalie Smith
That's great. That's great.
00;39;09;16 - 00;39;31;15
Rob Lee
So I got I got two last questions and I know they're very wordy, so I'm going to try to trim them down a bit, but, your thesis, was something to chew on. You see what I did there? I know you, the notion of it in the in the artist as a digest digestive tract especially, struck with me the idea of consuming art like nourishment.
00;39;31;17 - 00;39;50;06
Rob Lee
It really landed. And, you know, especially whenever I travel, like, when I'm getting something that's, like, culturally rich, like being a their New York. I feel like I had a full meal. I was there for a couple of days, saw my people, I had some, I did have some food as I had some steak tartare when I was there and oh, nice French friend up there.
00;39;50;06 - 00;40;10;27
Rob Lee
Big shout out to cam. So and I feel the same way when I go to New Orleans as well. So those experiences, those observations, you know, all of it, it just feels like I am refreshed. I have new energy, and I have sort of new observations that eventually turn into questions or even turned into interviews. So digestion, you know, is, is that for me?
00;40;10;27 - 00;40;28;00
Rob Lee
And I think this conversation is an example of that. So where does that idea come from for you as far as, or the artist as the digestive track? And how do you think about that, that now like sort of remove but not far removed from putting together that thesis?
00;40;28;02 - 00;40;51;05
Rosalie Smith
Well, I guess that kind of relates to New York, too, because I think when I moved to New York, I was consuming like a really fresh and huge dose of new, stimuli and information. But, the idea comes from a poem by Dieter Roth called My Eyes and Mouth. Dieter Roth is like a famous German artist.
00;40;51;05 - 00;41;21;12
Rosalie Smith
He's a sculptor, among other things, very conceptual and used a lot, did a lot of work with food, like very famously did a show in Los Angeles. This is his first ever U.S. show. I think, where he just brought suitcases of stinky cheese and left some in the gallery, and the gallery got shut down as a biohazard. So he was thinking about food and and the viewer as a consumer and the artist as a consumer.
00;41;21;12 - 00;41;45;25
Rosalie Smith
And like in that call me really, aligns the process of vision and sight with the process of consumption. So I was thinking about just like in my own practice and. What I do in a very literal way with the collecting all of these objects, I'm like literally bringing them into the studio and digesting them into a new form.
00;41;45;25 - 00;42;27;13
Rosalie Smith
But that an artist, really, I think your greatest job is to. Be like a really enthusiastic, observer and like, consumer of the information around you. And it doesn't have to be other artists. Like, I get a lot of inspiration from other artists, but sometimes it's it is moments like that on the subway just taking the moment to like, really look at this spray of trash, like and and see it for something beyond that to like, really allow yourself to be delighted and like to notice what the lights you
00;42;27;15 - 00;43;05;11
Rosalie Smith
And then I think as you allow yourself those experiences, you kind of can't help but internalize them in a conscious or subconscious way, like you can you can consciously feed yourself a lot, but there's also a lot of like subconscious inputs. And then that comes out in this new form. Like I think that's where yeah. The, the point of it all is for me is to just absorb and reform like this, like strange civilization that.
00;43;05;13 - 00;43;29;17
Rob Lee
Yeah. That's that's that's good. Thank you for for illustrating that because it really, really struck with it struck me and really stuck with me because, you know, I'm a I'm a food guy. I'm a, I'm a culture guy. I don't do sort of the typical, hey, let's talk about the art. And the other than that. But I'm not a, not an art critic and not art historian, but, you know, it's I'm, I'm a culture guy, as I've been described.
00;43;29;17 - 00;43;39;03
Rob Lee
And being able to the elements of it, you know, some folks say you're kind of you're you're moving in that Bourdain lane a little bit. And I was like, I'll take it, I'll take it.
00;43;39;05 - 00;43;46;17
Rosalie Smith
That's a nice that's a nice I mean, I would love to be compared to Anthony Bourdain if I was in your shoes. He's awesome. Yeah.
00;43;46;19 - 00;44;05;15
Rob Lee
You can throw there a few times. And so it's like, I'll, I'll accept that. And Bourdain Lane, I might have to like coin that aspect to the rack, but who knows? I know that, it might be some ghost tracks out there. So this is the the last question because there's, there's the tech component there and there, sort of the, the world that we're in.
00;44;05;15 - 00;44;28;17
Rob Lee
And this kind of goes to one of the things we were talking about earlier and, and going into it, I know from my word this is mostly 99% of digital media. And I've been trying to move away from that when possible. And I find that in that effort, whether it be the pre work, because all of as part of the work, doing the outreach as part of the work, doing the questions as part or all of that.
00;44;28;19 - 00;44;48;01
Rob Lee
And I find that when I do those elements in person, meeting someone or being aware of the art, being there at a show, not just, hey, I saw your work online. Yeah, but being there in person and seeing is like, oh, that's the scale. That's the scale of that. That's the scope. That's what you used. Yeah. I think it's something really cool.
00;44;48;01 - 00;45;10;20
Rob Lee
I think I and I use it regularly, you know, and I use tech regularly to improve from day to day. For the day job, you know, we're I'm seeing more and more stuff like that's kind of infringing on art, you know, stealing people's styles and like, hey, make something like this person's art ill. Yeah. Or, you know, and it's, it's sort of the visual thing that happens.
00;45;10;20 - 00;45;26;21
Rob Lee
And we get these generative tools. You know, sometimes our ideas sometimes are our work is used as training materials. I've joked about this a lot. I've done thousands of podcasts. At this point, I'm just waiting for someone to just take my voice and just use it.
00;45;26;23 - 00;45;27;17
Rosalie Smith
Like an I have.
00;45;27;19 - 00;45;45;29
Rob Lee
To be like, what is going to happen? Yeah, I can, I can use that as a lie to get myself out of any trouble. That wasn't me at all. That was ones and zeros that did that in your work has that sort of blending, kind of touching on that and or planning that some of these things sort of, you know, the technology component.
00;45;46;02 - 00;45;59;14
Rob Lee
So and we live in this raw like uncomfortable zone between like the human and the machine. And that line is becoming more and more blurred and blinking like you think about Neuralink's and all of these different things, like, I'm terrifying.
00;45;59;14 - 00;46;01;27
Rosalie Smith
I can't with the Neuralink thing.
00;46;01;29 - 00;46;04;18
Rob Lee
Only a Cronenberg movie waiting to happen, right?
00;46;04;20 - 00;46;08;29
Rosalie Smith
It is, it is. I love Cronenberg has a big influence on mine.
00;46;09;01 - 00;46;13;16
Rob Lee
We all recognize real.
00;46;13;18 - 00;46;50;29
Rosalie Smith
I think, the tech thing for me, I mean, I'm an interesting case because and a lot of the ways I'm like, I'm neutering the capabilities of these technological objects, like, they're often just used, like, a regular sculpture material, like an armature or something. And they're not, like, given their full technological capabilities. I think like one of the things that's interesting to me about this question is sort of the idea of like how the work is consumed over social media and the internet versus in person.
00;46;50;29 - 00;47;36;26
Rosalie Smith
Like, I'm so grateful that you got to see my work in person because, well, I do I do invest in trying to get really good photos of my work because it's such a big part of the jobs. I think my directing would actually be to never take photos of them and make everybody have to see them in person, because I think one of the big questions of this of like art and any time like of, of our time period is just this, like we're all duking it out for attention, like we and like you have to really fortify yourselves against the screen in terms of attention because these corporations are viciously fighting for your airtime.
00;47;36;28 - 00;48;00;09
Rosalie Smith
Yeah. And I think, like, that's part of why I make my work so intricately detailed so that, like, when somebody does have the chance to encounter it in person, they can't help but stay with it for an extended period of time. Because I want them to have this, like, constantly unfolding journey of discovering every detail on a piece.
00;48;00;11 - 00;48;27;02
Rosalie Smith
I want it to, like, hold attention in the present, in the real, away from the screen. I have used AI for like, some help with, like, writing notes, like tightening up my resumes and sure, like that. And sometimes outlining different essays or presentations occasionally. But I think I'm trying to make my artwork as eye proof as possible.
00;48;27;02 - 00;48;44;10
Rosalie Smith
I think that there's something about using these objects that have been actively handled that is so counter to whatever AI is, you know, because like, there's there's a sense of touch when there's a sense of touch that just can't be like replicated or simulated.
00;48;44;13 - 00;49;04;19
Rob Lee
That's that's so true. And I think that's sort of, the the sort of preamble of that question that I think having something that you like if like, you know, culinary arts for sake of argument. Right. So can I from food, you might be able to craft a recipe and you, you might be able to do a few different things descriptively, but those are words.
00;49;04;19 - 00;49;30;00
Rob Lee
Those are images, but something that is in your hand. So knowing that something like this, it's great. And I know that folks who do podcasts, for sake of argument, they try to do them in person to have folks come out there and see it. And you may not get that experience. The, the audio, digital version of that same conversation, you had to have been there for it to actually to have received it.
00;49;30;02 - 00;49;51;03
Rob Lee
And it's something there that I think because we're we're all fighting. I mean, he sort of, NFT thing was a couple of years back, and I think it's impacted sort of visual artists a bit. And, you know, maybe musicians and definitely musicians, all of these sort of folks. But that goes back to one of the earlier points to where in that hierarchy, where does that fall?
00;49;51;03 - 00;50;12;19
Rob Lee
And I think there are pieces of it that are trying to push the, the, the, the artistic mediums that can be easily replicated or attempted to be replicated through. I these are more important. It's like, well, the people that do the other things, the sculptures and so on, you can't really replace them. So this is why you're prioritizing these other people.
00;50;12;21 - 00;50;14;19
Rob Lee
It's about the attention thing that you're touching on.
00;50;14;26 - 00;50;41;00
Rosalie Smith
It's true. It's really true. Yeah. I think there's, I wonder if it will will ultimately create a moment, a movement where we're moving away from this, like super digital life that there might be just like a need to scale back and away and back into the present. I think we can see that a little bit with the way that retail is like evolved.
00;50;41;00 - 00;51;27;17
Rosalie Smith
I think there's more of an interest and there's so much online retail and it's such a big thing. But there's also like, like more of an interest in small businesses and in-person shopping in that way as well, like simultaneously like people wanting to have like real physical space to like, occupy. I don't know, I yeah, I guess like I one of the comments, I think one of the comments on technology that the that the work offers and sort of like this idea that it's not this like permanent force, that these objects aren't like the guaranteed future that a lot and like the way that they're digested into these sculptures, and the way that
00;51;27;17 - 00;51;37;12
Rosalie Smith
it takes away their capability is that it shows that they're sort of just as ephemeral as everything else in the sculpture. Yeah, I think that's one of the points in it.
00;51;37;15 - 00;51;46;19
Rob Lee
That's good, as I'm looking at all of my old tech in my, closet, I'm like, oh, what's going on here? Am I getting rid of that? Never mind.
00;51;46;22 - 00;51;57;15
Truth In This Art (Sounds)
No, no, no no no no no no no no no no.
00;51;57;18 - 00;52;21;23
Rob Lee
So so so that's it of the the real questions. Right. And you know see because you're, you've, you've done so well you've, you've earned the, the privilege of having me now fourth rapid fire question. You only had three initially. They're going great. And then you said something that really caught my mind. And because so much time has passed in this conversation, you know, remember when I wrote that question down so.
00;52;21;25 - 00;52;39;15
Rob Lee
All right. Let's see. So you don't overthink these, we're switching gears a touch. You don't overthink these. Whatever's the first thing that comes to mind. Okay. All right, so here's the first one. What is the oldest piece of tech that you have just lying around?
00;52;39;18 - 00;52;46;10
Rosalie Smith
I think it's a slide projector, Yeah. It's not that old. Oh.
00;52;46;12 - 00;52;46;26
Rob Lee
I.
00;52;46;29 - 00;52;48;26
Rosalie Smith
I have something older.
00;52;48;28 - 00;53;04;06
Rob Lee
I'm looking at in an AI pod that has a the. Excuse me. I'm looking at my pod that I was using for. I have like two iPods from like 2007 looking directly at me right now.
00;53;04;10 - 00;53;06;07
Rosalie Smith
Okay. I have just.
00;53;06;09 - 00;53;07;04
Rob Lee
Statues.
00;53;07;07 - 00;53;13;21
Rosalie Smith
Okay. A keyboard phone, probably in terms of a more a cell phone. That's the oldest cell phone I have.
00;53;13;21 - 00;53;22;07
Rob Lee
Yeah, I think cell phones are one of those things that it's just like, this is just this kind of junk, right? Like,
00;53;22;09 - 00;53;25;21
Rob Lee
It's a weapon. If you had that Nokia brick joint so fast.
00;53;25;21 - 00;53;30;09
Rosalie Smith
Yeah. That piece of tech evolved incredibly quickly.
00;53;30;12 - 00;53;40;08
Rob Lee
Let's see. Look at that. So one of the things that, I thought of is the movie Wally. Wally.
00;53;40;14 - 00;53;42;18
Rosalie Smith
Oh, I love Wally.
00;53;42;21 - 00;54;01;24
Rob Lee
The know, just being here on the trash planet or what have you. And, we're just gone and we're left behind, and I see more and more of the apps, like, I don't know if this is a cartoon. I think this is the life for you in terms of stuff that you keep around, because I'm very specific with what I have in my studio.
00;54;01;24 - 00;54;15;28
Rob Lee
I don't keep everything. Folks who send me art folks who send me gifts, the art I try to keep it depending on, you know, if me and a person really vibe. But if it's something that just feels like you gave this to me and it's not really special, I'll try to give it to someone else or donate it or something like that.
00;54;15;28 - 00;54;26;01
Rob Lee
Don't throw it away. For you and your your space. What are maybe the considerations or the rules like that main one for something that's going to be in your space?
00;54;26;04 - 00;54;31;05
Rosalie Smith
I need more rules. I'm such a hoarder.
00;54;31;07 - 00;54;31;26
Rob Lee
Okay.
00;54;31;29 - 00;54;58;21
Rosalie Smith
I do like the, Okay. My studio. I mean, I have to hoard. So there's a million things in here at all times. But I'm a very nostalgic person, and I'm a very a sucker for for a beautiful object in terms of, like, my home. So it's filled with, like, my grandmother's old paintings and my mom's drawings and stuff like that because I'm sentimentally attached to them.
00;54;58;21 - 00;55;13;04
Rosalie Smith
A lot of friends artwork, I do like that, Marie Kondo role of something sparking joy. And I think that's true in my work. I really like there to be a lot of joy in there as well, so.
00;55;13;06 - 00;55;33;22
Rob Lee
I, I picked that up in the conversation. I think you mentioned it more than once, just, essentially allowing yourself to be delighted. So yeah. Yeah. Yes. All right. This is the one. Which plant do you want to be part of, or do you want to be a part of you? This reference is something I was struck earlier.
00;55;33;25 - 00;55;37;14
Rosalie Smith
Not not fungus, though. Plant has to be plant.
00;55;37;18 - 00;55;41;05
Rob Lee
Yeah, absolutely. Plant. We're not doing corpse ups. Not Last of Us style.
00;55;41;12 - 00;56;02;00
Rosalie Smith
Oh my God. Yeah. I'm making a very Last of Us style sculpture. I think being, maybe Moss. I think, like the I like that. I like the way that moss can just expand over space and be like a nice soft cloud. That seems really nice.
00;56;02;02 - 00;56;15;11
Rob Lee
You know, for a second, you're before you put your hair, you had a Spanish moss thing going on with your hair stage. You. I think I want to be a tree, just a giant. Because like I said, I'm tall, so just I just re. Yeah.
00;56;15;14 - 00;56;19;12
Rosalie Smith
Let's say that's your comfort zone stuff towering above. Yeah.
00;56;19;14 - 00;56;42;21
Rob Lee
You can now, like you should try. This nest is fine up here. Okay. Cool enough. All right. Here's the last one. And I'm always curious about sort of the behind the scenes behind the curtain and sort of folks has habits. So you have the New Orleans Times and you're based in New York, both places with really distinct food identities.
00;56;42;24 - 00;56;48;18
Rob Lee
So the question is, what is your favorite dish?
00;56;48;20 - 00;57;04;22
Rosalie Smith
I love chargrilled oysters. So I guess it comes up in New Orleans food. That's my absolute favorite one. Artichokes are my favorite vegetable. I get to joke every day for sure.
00;57;04;24 - 00;57;10;11
Rob Lee
That's I think that's the first time someone's mentioned maybe the word artichoke on this podcast, and almost not.
00;57;10;13 - 00;57;17;16
Rosalie Smith
All right. That's really funny. Number one. No, references to artichokes in.
00;57;17;19 - 00;57;24;00
Rob Lee
Search for it on iTunes, Spotify and.
00;57;24;02 - 00;57;46;24
Rosalie Smith
I love activity foods like pomegranates. I also love. Yeah, like, anything that feels like you really have to, like, be an act actively eating it. Like, I guess oysters are like that too. Like, I love shucking oysters and stuff like that. My mom's eggplant parm was my absolute favorite thing to eat when I was younger. I love pad Thai.
00;57;46;24 - 00;57;55;21
Rosalie Smith
I love cheese enchiladas, you know, basic like, like girl things to order at, like an ethnic food restaurant.
00;57;55;23 - 00;58;14;27
Rob Lee
That's really funny. That's really like I'm over here talking about I. May I have some beef tartare. I'm just like, yeah, I'm just having this white girl stuff. It's five. That's that's just like, I will say this, be in, you know, thank you. I'll say this. I really like New Orleans, and I'm a snob about it.
00;58;14;27 - 00;58;39;14
Rob Lee
Right. When folks try to do, like, shrimp and grits or any, any of the classics there, I'm like your where's this one? Don't don't get me some smoked turkey interpretation of it. I was like, it's a fail. Virtually. I know persnickety and you know, I've talked to chefs. They're like appreciate that Rob. You know and my and the other thing is my favorite animal is an alligator, right.
00;58;39;20 - 00;58;55;29
Rob Lee
Oh, yeah, I got alligators. And, I have a buddy. We've travel down there a couple of times and he's like, hey, man, I'm gonna, you know, he does the tourist thing. So maybe an it sort of basic white girl energy. He's having the tourist sort of food and he's like, yeah, man, I see the the guy alligator nuggets.
00;58;55;29 - 00;59;07;15
Rob Lee
It's like, we can't have the not the noble thunder lizard. We can't eat alligator. Yet I learned about it. I was like, it's mostly just pork or chicken with a little alligator. And it's legal alligator. It's not real.
00;59;07;17 - 00;59;26;21
Rosalie Smith
It tastes a lot like pork. It tastes a lot like work. I'm like, I've been a vegetarian since I was ten, but I have dabbled to try all the different things. And I eat fish now, too. But, yeah, alligator really just tastes like pork. It's just like chewy like that. Yeah, I it is. They are one of those regal animals I can't eat.
00;59;26;22 - 00;59;39;02
Rosalie Smith
I think the other ones, like octopus and lobster or they're just like these, like genius internal animals that create that kind of. Yeah, it's too sad for me to eat them, but I feel you on that.
00;59;39;05 - 00;59;59;07
Rob Lee
Yeah, it. So I think we've got it. So what I want to do in these final moments is two things. One, thank you for coming on to the podcast. I appreciate you spending some time with me. And, and two, this is the shameless plug portion I want to give you, just that, you know, another shot, to, you know, tell folks where to check your work out.
00;59;59;08 - 01;00;03;26
Rob Lee
Where check you, where to follow you. Anything that's coming up the floor is yours.
01;00;03;28 - 01;00;29;19
Rosalie Smith
So I just opened a show last night at Mama Projects, and Chelsea definitely recommend checking that out. I have three pieces in that show. Last Saturday I opened a show in Greenport, Long Island. So that's up in the North Fork for anybody who's going out for like a fun weekend from the city. It's very cute there. And I have like five pieces in that show.
01;00;29;22 - 01;00;53;04
Rosalie Smith
I'm opening up a really exciting show for upstate Art weekend at this place called Shadow Walls, which is like a Victorian mansion. And me and 11 other artists are all getting our own room in the mansion, so I'm working very hard on that work. As we speak, so I would love for people to come to that. And then, yeah, my Garner Art center show, everybody should come see that one too.
01;00;53;06 - 01;01;14;10
Rosalie Smith
And then I there will be more and you can follow along with all of this on my Instagram at Rosalie G. L Smith that you can I'm not on all platforms. My website Rosalie G. L smith.com and my email if you want to get in touch that's the same. Yeah at gmail. Yeah.
01;01;14;12 - 01;01;30;07
Rob Lee
And there you have it folks I want to again, thank you, Rosalie Smith, for joining me on the podcast today and sharing a bit about her work. And for Rosalie, I am Rob Lee saying that there's art, culture and community in and around your neck of the woods. You just have to look for it when.
