Welcome. While 20th century art history and current 21st century work provide numerous sculptors whose work could be seen as the basis for my own, I credit my grandfather, Moe with planting the original creative seeds. Moe was an insurance agent working out of his Detroit bungalow home for decades and when he hung it up, he retreated to the basement and started knocking out these 3D fish from rusted cans shaped with tin snips and adorned with old bottle caps and assorted flotsam and jetsam. I found them to be fascinatingly expressive.

Like Moe's work, mine begins with discovery, moves to assembly centred on aesthetics and spontaneity, and finally, but not always, to an ideation, conceptual or surreal stage requiring some adjustments. Minimally they are readymades, but mostly they are found objects disassembled and/or assembled with some interference or alteration on my part.

With the advent of Covid and its accompanying restrictions, the resources I relied upon for materials shut down. Paint, canvas, and other surfaces however, were readily available allowing me to discover a new practice; painting. As with the sculpture, I was essentially self-taught. Primarily poitrature, my subjects are tributes to artists I admire, self-portraits, as well as random images captured on a variety of media, e.g. video, film, photography, and memory. 

Please contact me if you have any questions about the work or its availability.

What the critics (might) say:

“With his work balanced on the precipice of outsider obscurity and grudging acceptance, Rosensweet  finds himself as an artist poised ironically between emergence and old age.“

“The work marries a harrowing post-apocalyptic vision with mild regret.”

“He [Rosensweet] conjures the nostalgia of over-consumption with the startling unremediated patina of crap well past its useful lifetime." 
 
“Rosensweet decries the depravity of social and environmental degradation and then runs behind a tree to hide.”