Rozanne Hermelyn Di Silvestro is a San Francisco Bay Area visual artist working in the disciplines of printmaking and painting. Rozanne’s art career traces back to her childhood and the support of her mother, who was a fashion designer and seamstress. “She taught me to design and sew my own clothes from a very early age,” says Rozanne. “When I turned twelve, I begged her to sign me up for the adult education figure drawing class in the room next door to her painting class. To this day, I still participate in weekly life drawing sessions.” Rozanne continued to study art and design at UCLA and Art Center College of Design, and then worked for several years in the creative industry in Los Angeles and San Francisco before opening her own design firm. After twenty five years of a successful professional career, Rozanne pivoted to focus on expressing her own creative voice.
“Art is more than a product of your efforts; it should be about feeling, life, attitude, soul.” – Russian-American painter Sergei Bongart
Rozanne’s work exposes the fragile, the spirited, and the strong. Through minimalist compositions and expressive brush strokes, her work inspires you to see and feel the salty sweet and fault lines in everyday life.
Rozanne has been awarded Best of Show and 1st place in numerous exhibitions. Her work has been shown in Triton Museum of Art, Janet Turner Print Museum, The Art Complex Museum, Museum of Los Gatos, and can be found in the permanent collections of the Harvard Art Museums and the Library of Congress. Rozanne has also been published in Reed Magazine, California’s oldest literary journal and in The California Printmaker journal.
“The start of a painting is the most onerous step for me. I feel as though, I can’t just paint a stroke, I must paint an inspired stroke. It is both harrowing yet freeing at the same time. I find that this uncomfortable space is where my best creative work develops. This potential inspires my romance with the monotype printmaking technique. The spontaneous act of drawing and painting on the smooth plate surface is a constant study of life and light. First, I add oil ink with brushes and rollers and then remove the ink with my fingers, rags, brushes, cotton swabs, and sticks, depending on the type of mark I want. Then, I repeat this additive and subtractive process over and over again until I feel my image is complete. The final step is pressing the image plate to paper through an etching press, creating an unique artwork.”