We, Adam and Rosalynn Rothstein, are a human partnership, both co-habitating and working together. Since we were married five years ago, our artistic and conceptual interests slowly merged to a cohesive narrative from what, to us, seemed to be two disparate backgrounds.

Much of Rosalynn’s current influence comes from practicing Ikebana–the Japanese art of flower arranging. She holds a fourth grade certificate in the Sogetsu school. The founder of the Sogetsu school did not see a boundary between sculpture and flowers arranging. Consequently, the influence of Ikebana on Rosalynn’s sculptural work is quite significant. Her work in the academic field of folklore also informs the partnership’s thinking about vernacular practice and human interaction.

Adam is an insurgent archivist and 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. In the artistic arena, he is interested technology-based art and the interaction between manufacturing technology and craft, as well as social production skills. 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.

As we began to examine and merge our artistic practices, we became interested in large scale installations that push the viewer and require the viewer to interact with the piece and the work process. Re-used and re-purposed materials have also come to serve as the basis for much of our practice. While we believe in creating a professional and aesthetically pleasing end product, we focus on using materials that reach this goal and also make use of materials which might otherwise be discarded. Our most successful work to date have been installations that interact with the space, the participants, and us, bringing all three into a new sense of place that combines and utilizes each as they are. Adam’s technical skills in material assemblage (welding, adhesives, carpentry) and Rosalynn’s perspective from Ikebana (the importance of space, line and mass) help us create successful installations with re-used materials which analyze the importance of our relationships to objects, as well as our relationships to each other.