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Trixi Rosa is a listener/learner/poet/artist/māmā from Punakaiki, Aotearoa. Her emerging art practice is concept and process driven, usually taking form as installation work that incorporates ritual, writing and performance. It navigates questions of identity, place, intimacy and belonging. She currently lives in Tāmaki Makaurau, working on creative and community development projects. 

Trixi has published, performed and exhibited work locally and internationally with the likes of, Takahē, Hunter Writer Centre (AUS), Genre: Urban Arts (USA), Maternal Journal (USA), Verity La (AUS), Depot Artspace (NZ), First Site Gallery (AUS), Melbourne Writers Festival, The Bowery Poetry Club (NYC), Chopin Theatre (Chicago), and The Wheeler Centre (AUS). In 2019, she completed the Emerging Cultural Leaders residency at Footscray Arts (FCAC) and graduated from a Masters of Public Art (Community Arts/Socially Engaged Practice) at RMIT, receiving the Vice-Chancellor’s Award for Academic Excellence.


How to Fly a Kite

Poetry film collab with digital artist, Ed Waaka

double-knotted shoelace

book launch & exhibition presented in Feb 2021 at Depot Art Gallery

An intimate dialogue between selected poems from her poetry collection and responding artworks. Through written work, sculpture, performance & immersive audio-visual installation, the artist used personal narrative & ritual to carve into the intersections of intimacy, grief & shame.

When We Lose Ourselves in Hurting

Poetry film collab with film maker, Jutta Pryor

unraveling, a ritual of layers

a site specific performance art piece initially developed in response to weathering steel, the material used to construct the Australian Centre for Contemporary Art (ACCA) building. Weathering Steel allows a rust-like erosion process to create a protective layer. Presented at ACCA in May 2018 & again at State Library of Victoria, March 2019

Mourning Pages

Mourning Pages was a process-driven installation & performance piece presented by Trixi Rosa at Footscray Arts Centre (FCAC) in 2019, as part of the Emerging Cultural Leaders (ECL) Residency. To create the installation the artist wrote stream-of-consciousness on tracing paper every morning for three months, delving into a thick residue of resurfaced grief in an attempt to weave experience into memory. The 270 hand written pages were then suspended to form a cumulative dreamscape of blowing autumn leaves, that emerged out of the artists scattered grief state. Mourning Pages, both installation and performance, interrogated time through the wrinkled lens and interwoven spaces of dream/grief time. It was the artist's attempt to find a residue of identity and belonging within the placelessness and timelessness of loss. This piece was part of a larger collaborative work titled ‘Timescapes’ that investigated non-linear concepts of time, in conversation with neighbouring pieces Ngā pōtaka by Hineani Tunoa Roberts and Between Forever by Kim Lam.


a body of work

i'm still learning stillness

see i'm still learning stillness, see this hinged body twitch thunder clap – snap, broken rumbling, don’t know how to stay stuck, and never mind this gritty water, we’ve all been thirsty before, see some folks can't be quenched so easy, see running taught me double-knotted shoelace and softness in bone lands gentle and burnt edges still smell like summer, see running towards or running from don't matter.

But you grew

in open fields. 

You runner you.

And she bleeds


So, you sniff

copper, like flowers. 

Hope she’ll be


Oxidized green

in bloom.  

(a performance art piece undertaken at various locations across Melbourne in 2017)

Site photo & video credits: Brendan Bonsack, Ceri Hann, Gianna Rizzo, Samantha Pereira, Ella Benore Rowe, Diana Hu.

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