Having studied painting at Leeds College of Art in the 60s, Rosemary has in the last decade returned to both the North, and to the full time pursuit of her first love, painting. Her career as a painter has for many years run parallel to her other activity, that of leading a design studio with a worldwide client base.

While she continues to provide a design service for a select group of clients, her commitment and creativity is now devoted to her painting.

The work has developed along two quite distinct paths, one with a strong figurative base, the other exploring purely colour and formal relationships, while sharing many common elements. Landscape has always provided a strong influence and source of inspiration to Rosemary, recording the landscape of each of the locations in which she has lived and also many through which she has travelled. The other strand of Rosemary's painting follows the abstract route, exemplified by the use of simple shapes to balance the composition, and where the major concerns are with surface, colour saturation, texture, proportion, line, and tone.

The result is a body of work with discernable common features, but which manifests infinite variety in its realisation. The scale of the work encompasses the “public”, with canvasses of 2m + through to intimate pieces, intense visual statements of no more than 15cm square. The surface of the work is enriched by the use of a thick gesso ground which can be incised to create line work, and which permits the application of both colour washes, and saturated colour.

The pieces are further enriched by the application of metal foils, and pearlescent pigments.

The conceptual provenance of the work can be traced through the influences of Ben Nicholson, Terry Frost, the St Ives School, acknowledging Tapies, and the New York School of Rothko, and Rauchenburg, and continues the tradition of abstract expressionism into today's art world.

Rosemary exhibits widely in the North of England, London, U S A. Work is in collections worldwide.