Rosie Brand

© Rosie Brand 2021, All rights reserved.


2022 - 2024

Field Drawings


Tempera Paintings

Egg tempera on gray board, 2022-2024

Field Journal


I am interested in altering everyday human perception by focusing on the minute details of plant morphology. In my field journal, I draw wild neighbourhood plants, observing the tactile characteristics of my local ecology along the Arroyo Seco. I watch red alder roots breathe in the water, listening for the stories of mugwort and manroot. I learn to distinguish corolla from calyx, to recognise subtle changes as a bloom bloats to fruit. To avoid extraction, I forage the negative space between stem and branch, the serrated line at toyon-leaf edge. I find perfectly architectured seed pods in the mulch, ephemeral structures that teach how to hold, and to release. This practice of gathering is what feeds my studio work, an exploration of found forms; intertwining ceramics, drawing and writing into speculative worlds for becoming-with the more-than-human.  

Shadow Drawings


Selected field drawings, tracing the shade cast on paper.

The Names 


This body of work seeds out of grief. It is my processing of the year I cared for my Mum as she lived and died with brain cancer. Tumors affected her ability to express herself, my role as carer included acting as translator. I read her needs through non-verbal communication. This connection was beautiful, awful, heartbreaking. As our communication fell away, so did my capacity to describe that trauma.

I returned to the studio after her passing, in search of the language to tell our story. There, the sun cast a stream of light through my window as I worked. Clay came alive, growing plant-like, shape-shifting vessels. Their shadows stretched out, informing their own becoming. Abstract wreaths, unraveling baskets, wriggling spider-hands carried me through grief toward a place of healing. I caught those glyphic shadows in cyanotypes.

The work itself is an act of translation. I transcribe loss to transform it. I search for meaning in the gaps between mediums, in the chasm of lost words. To hold what was lost, I press shadows to the page and bind them in blue.

Blue Gum

2023 (WIP)

String Figures

Fired and Unfired Ceramic studio experiments and composites 2020.



These ceramic sculptures were assembled alongside foraged driftwood, wolf lichen, granite boulders and photographed in early morning light at Tokopah Falls, Sequoia National Park, September 2020.


July 2020

Photographs of ceramic sculptures interacting with urban green spaces around Los Angeles. 

Workshops Archive

My workshops aim to meet hands-on learning experiences with deep collective thinking. I think it makes a huge difference to learn through tactile exploration, to chat and play as we make, cross-pollinating our ideas.

These are the skills we build together, to fertilize new ways of thinking and re-member ritualistic making practices, for communion with an always changing, growing, dying, living world.

Clay Seed Pod Workshop

12.3.22 at Heavy Manners Library, Los Angeles
12.10.22 at Artist’s Studio, San Gabriel Valley

In this workshop, participants looked to a collection of locally foraged seed pods, in order to learn from their more-than-human architectures. These tactile forms were explored through clay, using essential ceramic handbuilding techniques to create both ephemeral and permanent sculptures; clay seed pods. Some clay pods were embedded with native wildflower seeds to be gifted back to the land, and others were filled with clay ‘seeds’, making rattlers to call in the rains.

This workshop is an ongoing offering, please contact for more information on future sessions.

Holding The River, An Underground Watering Pot Workshop

hosted by Ako Castuera and Rosie Brand
October 2022.
Artists’ Studio, San Gabriel Valley.

In this one day, in-person workshop, we used ceramic handbuilding techniques to make underground watering pots (often known as ollas).  These vessels are among the most ancient and water efficient technologies for gardening in dry conditions; unglazed and low fired, they allow water to slowly release through clay walls, reaching the roots of plants while preventing surface evaporation and overwatering. With the continuation of long term drought ahead of us, the watering pot is a practical tool for delivering water to where it’s needed in the garden. To bring hands and intention to the creation & use of this vessel is a way to hold and sustain our connection to water as a living being.

We gratefully acknowledge Payahuunadu (aka Owens Valley) as a primary, living source of water that has been unwillingly diverted to faucets and hoses in Los Angeles, and we honor the Nuumu / Owen’s Valley Paiute as her stewards.

‘Holding’ allows a shift from language of money and control (“conservation” “efficiency” “savings”) towards something more personal. We hold the water that keeps us alive. We hold the water of many living bodies, all mixed up: Payahuunadu, The Colorado River, the Feather River, and many, many others. They flow into and out of our homes, passing through pipes, pumps, buckets, our bodies and bathtubs. With very basic acts, we hold and shape the river. How will the river shape us?

This workshop has been practiced with three separate groups in October 2022, It is an ongoing project, we hope to offer future sessions.