Check back often for new work.



Shell (2020)

Blank (2019)

Strike (2015)

Life Hack 1: Venus and the Potato (2017)

Life Hack 2: Kiwi Skin (2017)

Life Hack 3: Coconut Wax (2017)

La Vie en Rose (2016)

Noyesnonoyesnoyesyesno (2016)

Virtutem Forma Decorat (2016)

Zeg Time (2015)

The Mediterranean Diet (2014)

Vanitas (2014)

Arachne (2014)

Sea Floor (2013)

Vanity Hair (2013)

Braided (2013)

Jump (2013)

Pony (2013)

Untitled (2013)

Bow (2013)

Theater ( 2012)

Ecloga (2012)

Migration (2012)

Untitled (2012)


Shell (2020). Numeroventi. Florence, Italy. Curated by Martino di Napoli Rampolla.

View Shell here.

Blank (2019). Galleria Civica di Bressanone, Bressanone, Italy.

Blank presents a sterile assembly line in which the reassembled sounds of mechanical printing presses accompany the process of turning blank sheets of crisp white paper into bread. The studied, methodical steps call into conversation not only the relationship between consumption and waste, but also the value of the printed word and the spread of information. In these repeated gestures, the necessary elements of printing since its origins – paper, water, and heat – become the ingredients for a kind of cooking tutorial that reflects on the void of content in much of what we consume.

This work emerged from the 2019 project ”Economy goes culture” promoted by the Südtiroler Künstlerbund in which the I had the unique opportunity to collaborate with the historical printing house A. Weger in Bressanone, Italy. View video here.

Homo Bulla (2019). Casa Atelier – Museion. Bolzano, Italy. Curated by Alessandra Tempesti of Lottozero.

Read the curatorial text by Alessandra Tempesti

Hawnhekk (2018). Spazju Kreattiv. Gozo, Malta. In collaboration with Jennie Suddick.

Supported by a STEP Travel Grant funded by European Cultural Foundation and Compagnia di San Paolo.


Primavera in Sospeso (2018). Robert McLaughlin Gallery. Oshawa, Canada. In collaboration with Jennie Suddick.


Atlas (2017).  Eleven Spaces, Numeroventi. Florence, Italy.
Atlas invites the viewer to engage in shaping the space, shifting and stacking the boulders as they topple to the floor. Just as the space they inhabit, the materials of construction are revealed by the wearing down of the surfaces and their repeated manipulation through time. Each gesture contributes to the erosion of the space and the objects, yet the playful interaction is one of continuous construction, suggesting the possibility for using this state of flux as an invitation to build rather than to demolish.

Primavera in Sospeso (2017). With Jennie Suddick for Come Up to My Room at The Gladstone Hotel, Toronto, Canada.
Using materials often found in both Jennie Suddick’s and Anna Rose’s practices, the two artists create an explosion out of a familiar image tied to their personal research in Florence, Italy. Anna, who resides in Florence, and Jennie, who is based in Toronto, constructed the elements of this project remotely, beginning the process of unraveling and expanding the subject matter within the specific contexts of their different environments.
An iconic image that is often romanticized and commercialized is deconstructed and blurred by their personal perspectives. An image that has connotations of beauty and ease is remixed to highlight the undercurrent of decadence and violence. The initial familiarity is destabilized, woven into an immersive environment.

(Im)percezione (2015).  With Francoise Bertolini.  Florence.

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Hair Picnic (2015) at Das KloHauschen, Munich.  In collaboration with Janean Williams.

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Hair Picnic (Florence) 2013.  In collaboration with Marisa Garreffa, with the participation of Jessica Harlond Kenney.

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Crosshairs (2013), Swell Gallery (San Francisco).  In collaboration with Janean Williams

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Memento Mori (2012), San Francisco Art Institute.

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Measured Bodies (2013) Diego Rivera Gallery, San Francisco.

Living Space (2012), SACI Gallery, Florence.

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Quiet Room (2011), San Francisco Art Institute.

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