BIO

Katherine Steichen Rosing (b. Appleton, Wisconsin) explores environmental processes and phenomena in forests and watersheds through immersive installations and vividly-hued paintings.

​Her work has been exhibited in over 100 solo and group exhibitions in galleries and museums internationally, including The Rockford Art Museum, Rockford, Illinois; Amos Eno Gallery (New York), The Arts Club, (Washington, DC), James May Gallery (Milwaukee), The Museum of Wisconsin Art (West Bend, Wisconsin), ARC Gallery (Chicago), Tomioka Museum (Tokyo), Saitama Modern Art Museum (Saitama, Japan). Rosing's paintings are included in many public and private collections, and she is the recipient of numerous grants and awards, including the 2022 Forward Art Prize and the Madison Arts Commission/Wisconsin Arts Board Individual Artist Fellowship.

​​Rosing has been awarded science-based artist residencies at the UW-Madison Department of Limnology’s Trout Lake Research Station and the St. Croix Watershed Research Station, sponsored by the Science Museum of Minnesota.

A former member of ARC Gallery/Educational Foundation in Chicago, Rosing served as Vice-President and Invitational Gallery curator. She represented ARC Gallery and the Chicago Women’s Caucus for Art as a delegate and panelist to the NGO Forum of the United Nations 4th World Conference on Women in Beijing.

Rosing earned her MFA in painting and drawing from Northern Illinois University, a BFA from the University of Colorado-Denver, and a BA from the University of Wisconsin-Madison. She taught studio art courses at colleges and universities in Chicago and Madison, Wisconsin, where she lives and works.

Represented by:
Kim Storage Gallery, Milwaukee
Groveland Gallery, Minneapolis


My practice includes painting and immersive installations informed by experiences in the wilderness, ecological literature, and studio experimentation. Forests are my lens to climate, atmosphere, and the hydrologic cycles. The paintings express the heightened awareness and euphoria often felt in natural environments, while the more somber tone of the monochrome installations expresses the anxiety I feel about the climate crisis.

My abstract paintings envision intricate relationships between forest ecosystems and their watersheds. I often draw or write in wet paint, implanting inscriptions in many layers of saturated color that reference invisible processes and life forms while creating a complex surface that is important to me. 

The installations are physically immersive, incorporating suspended sculptures—virtual forests made with fabric and other materials. The translucent fabric sculptures, beaded and embroidered with symbolic patterns and sometimes made with community participation, suggest the fragility of forest ecosystems.

Recently, I have been working with India ink, a symbol of carbon sequestered by trees, on linen gauze and silk organza. I burn holes in the cloth as a meditation on forests burning due to changing environmental conditions. I am developing a new installation exploring connections between atmospheric rivers, forests, and climate.

STATEMENT


RESUME


PRESS


Shepherd Express Milwaukee, WI

by Annie Raab, June 10, 2024

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We spoke about systems, patterns and the unpredictable world we’ve created in the existential era of climate change.


The Cap Times, Madison, WI
by Lindsay Christians, October 8, 2022

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Artdose Magazine Cover Article, by Frank Juarez, Volume 31, 2021

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‘Her love for texture is evident in both her paintings and textile works.’


Isthmus
by John McLaughlin, November 15, 2018
Madison, WI

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The works are laced with an undeniable cryptic beauty.