Roz is obsessed with working with gem stones and melting metal, and gets lost in hand carving little sculptures. Roz's design style is based on nature but inspiration comes from all around. She loves the fusion of hand carved and CAD mix.
Roz's childhood had an amazing influence on her. She grew up living and traveling in many different countries; her favorite places were Kuwait and India. Life in Kuwait was idyllic. Roz's school playground overlooked the Arabian Gulf, where seeing dolphins was part of the beautiful scenery. Her family camped on a beach nearly every weekend, near a small but truly beautiful coral reef that teamed with life. Stingrays, lizards and car races were just a tiny part of the life in the desert.
Back in the UK Roz did an art foundation course at Camberwell College of Arts and then went to work in a bronze foundry in Suffolk under the brilliantly talented Laurence Edwards, who was working on larger-than-life size sculptures. His works include A Thousand Tides (Lying Man), that can be seen gradually appearing as the tide goes out at Snape. Roz was completely drawn to the sculpting and casting process and felt that training as a jeweller would give her expertise in the in the type of skills required for a different side of this process that she found so fascinating. She trained as goldsmith at KIAD such as to encompass silversmithing as well as smaller work. Roz then spent some time as a jeweller in Colchester at PK Jewellers learning the practical side of traditional jewellery-making skills. After taking time out to concentrate on three children she went back to work as a master pattern maker for the jewellery profession and was part of the team that launched the Bill Skinner brand.
Roz has always been fascinated by the casting process and built her own foundry and studio from where she launched her own brand. Roz has to have a stack of sketchbooks and pencils with her all the time as that is where her design process starts. Once a story has been decided on she starts carving her little creations to make master patterns. Roz often carves directly into metal rather than wax as it gives a sharper detailed finish. A lot of the tools used are traditional gravers and files but sometimes only a specially handmade tool will do although Roz is easily persuaded to do some forge work and let some sparks fly. Once a master pattern is complete a mould is then made and centrifugally cast them in the foundry. From these pieces Roz makes the finished articles. Roz says "I have always loved what is a complex process, monumental to make yet so simple to see".