Rosie Clements (*1990) is a multidisciplinary artist working across photography, sculpture, and print. Her practice explores the intersections of materiality and the virtual, investigating how contemporary society packages and consumes both physical goods and digital representations. Through research-driven methodologies, Rosie critiques the commodification of beauty, identity, and experience in the digital age. Her work has been exhibited internationally, with recent solo shows including McLennon Pen Co. in Austin, TX (2024). Editorial clients include The New York Times Opinion with features in BOOOOOOOM and Southwest Contemporary. In 2023, Rosie was named one of Lenscratch’s ‘26 to Watch.’ Representation: McLennon Pen Co. Rosie's work explores desire, consumption, and ephemerality in the context of digital culture. Using bubble wrap as a medium for UV-printed digital photographs, she investigates how both material goods and digital representations are packaged, consumed, and discarded. Typically used to protect products during shipping, bubble wrap becomes a metaphor for the fleeting nature of contemporary consumption—like the products we buy or the curated images we encounter online, bubble wrap is temporary, meant to protect for a brief moment before being discarded. Her practice is informed by a world oversaturated with visual culture, where social media and consumerism have reshaped our relationships to beauty, identity, and experience. In this atmosphere, images often hold more value than the objects or people they represent. Her work critiques this cycle, examining how we navigate the tension between the ‘real’ world and the digital spaces that now dominate our daily lives.

Rosie Clements (*1990) is a multidisciplinary artist working across photography, sculpture, and print. Her practice explores the intersections of materiality and the virtual, investigating how contemporary society packages and consumes both physical goods and digital representations. Through research-driven methodologies, Rosie critiques the commodification of beauty, identity, and experience in the digital age. Her work has been exhibited internationally, with recent solo shows including McLennon Pen Co. in Austin, TX (2024). Editorial clients include The New York Times Opinion with features in BOOOOOOOM and Southwest Contemporary. In 2023, Rosie was named one of Lenscratch’s ‘26 to Watch.’ Representation: McLennon Pen Co. Rosie's work explores desire, consumption, and ephemerality in the context of digital culture. Using bubble wrap as a medium for UV-printed digital photographs, she investigates how both material goods and digital representations are packaged, consumed, and discarded. Typically used to protect products during shipping, bubble wrap becomes a metaphor for the fleeting nature of contemporary consumption—like the products we buy or the curated images we encounter online, bubble wrap is temporary, meant to protect for a brief moment before being discarded. Her practice is informed by a world oversaturated with visual culture, where social media and consumerism have reshaped our relationships to beauty, identity, and experience. In this atmosphere, images often hold more value than the objects or people they represent. Her work critiques this cycle, examining how we navigate the tension between the ‘real’ world and the digital spaces that now dominate our daily lives.