The compositions Katha Rossein paints overflow the pigments used to render them. Sometimes her paintings dissolve into near total abstraction; in others, the intimation of a body is rendered with a bright, pastel-like fleshiness that lends its contours a sensual gaiety. Working with various materials from painting to painting, the underlying impetus unifying her output is a sort of contemplative tranquility become fraught.
A sense of contrast, the simultaneity of different painterly styles, fills Rossein’s works. This owes everything to the densely layered application of the paint itself. The acrylic on paper piece, Letting Go, for instance, depicts a figure, perhaps in profile, centered on the canvas against a multi-colored backdrop. Looking at this piece, one notes how Rossein’s brushwork seems to wear at the paper, as though gesturing to a sense frustration or criticality toward the conventions she's putting to use (the female nude, etc.). At the same time, Rossein’s handling of paint creates a novel context for the appearance of a figure, like an embryo emerging into form. Whereas other painters depict figures, Rossein foregrounds the techniques that make figuration possible.