The world exists as long as we believe in it. The image that is visible to our eyes is the one in which we believe. Large numbers of images do not exist due to the lack of believing in them. Sometimes, this lack is worthwhile; other times, it’s a shame to have blindness to certain information given out by the scenery.

Rosalind sometimes used to talk about photo stories as told in old fashion magazines. The fascination was due also to the fact that through some of those stories you would have observed well-expressed changes in society. Now, we often look for such things elsewhere. Looking at old art, at large tableaus in old museums or at books.

Rosie has always looked at images of all kinds and saw them as a fully legible part of life. I rediscovered this as I flipped through her exhibition catalogues from the 2000s in her studio. Today, she is the same. Her paintings of painfully large, beautiful and sad swans; a text reading UNRWA running below a canvas; a large paper with painted empty, dirty pots; if it was a poster, it simply said the name of Palestine. Sometimes there is nothing explicit in the view and that’s why I love to observe Rosie’s paintings. How she thinks the world instead of representing, instead of pleasing either side. Making art is her main profession and she completely gives into that. She reads presence and lets herself able to interpret it via art.

What we learn while spending time with Rosie is that she has always been and remains of chivalrous character. Direct in her attitude towards life and art alike. Her hand holding brushes is strong and yet tender as of an old-world warrior, such that does not exist in politics today. She holds the past and future in herself, as the result she is always present. Welcome to Rosalind’s day and into her studio.