Alexandra Rose is an intermedia artist gravitating toward metal in both sculpture and photography. In 2019, they received their Bachelor of Fine Arts from The Institute of American Indian Arts. They majored in studio arts with an emphasis on bronze casting and historical chemical darkroom techniques for photography. They are on the Steering Committee, organizing panels and presentations, for the National Conference for Cast Iron Art and Practices (2021 and 2023). They recently finished a month-long internship at Sculpture Trails where they installed Stripped in the Outdoor Museum’s collection. They work as the Production Assistant at Artworks Foundry, acting as a mold librarian, wax chaser/pourer, ceramic shell technician, mold maker, and general laborer on other special projects. They will begin TA’ing at The Crucible in September within the mold-making department. 
Rose is currently located on Lisjan Ohlone land, also known as Berkeley, CA. As a non-native resident occupying unceded Lisjan territory they pay their Shuumi Land Tax to Sogorea Te’ Land Trust, an urban Indigenous women-led land trust based in the San Francisco Bay Area that facilitates the return of Indigenous land to Indigenous people.
You can give yours at: https://sogoreate-landtrust.org/donate/ 
Find out who’s land you are on here: https://native-land.ca/
It is the transfigurative and reconstructive qualities of metal that draw Rose to foundry work. At the age of eight, they started melting pennies on the stovetop, watching the copper as it warped, waiting for it to fall apart, to drip into something new, into something completely different from the one-cent it once was. Metal can be solid, firm, and rigid in one moment, and the very next; fluid, soft, and gentle. This material duality is something Rose relates to as a nonbinary maker. They use recycled iron, among other mediums, to address feelings surrounding body image, gendered experiences, relation to society, and their place in the natural world. They utilize the visual connotations of different materials to describe, analyze, and learn about their own butch-femme-gender-queer body. 

Rose’s creative process is a therapeutic ritual based on connection to the material, intuition, and physical labor. Their focus is on the body as the unique vessel for human experience, revealing themes of growth, change, and the evolution of the authentic self. Their work examines issues of class, appearance, presentation of the queer body, shame, expectations, and authenticity. Working cross-disciplinarily to archive moments in time allows Rose to create, reflect, release, and grow. Their work acts as an outlet for understanding the world around them and documents their journey of trying to thrive, in this highly unlikely moment of being alive, while simultaneously dealing with the distress of living within violent imperialist-extractive-heteronormative-misogynistic-capitalistic-colonial societies. 
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