I don’t make art to decorate walls. I make it to disrupt neutrality and polished points of view. To drag out what you'd rather ignore and put it right in front of you. I believe that real art isn’t neutral. It always takes a side, even if it pretends not to. Art has been used to question power, call out lies, stir anger, and sometimes spark hope. That’s the space I work in.

They call it many things: restructuring, succession planning, a new direction, expansion, diversification, a promotion, a sideways move, a special project, etcetera, etcetera, etcetera. But it's never called betrayal, because you never had their loyalty. It's The Last Waltz.

Art is not just a mirror reflecting society; it is a hammer shaping it. Through my work, I aim to challenge viewers to confront uncomfortable truths about inner tension, societal friction, and environmental degradation. This confrontation is the first step toward transformation. The Rosy Myart Project embodies this philosophy.

Some of us don’t slot neatly into anything. Not into scenes, not into trends, not into tidy bios.We live in the in-between, where things don’t quite match, where ideas don’t sit still, where identities blur.

I changed my middle name to Dissent. Not legally—that would be too formal. This one’s more spiritual. A private headline. A whisper I wear like a tattoo under the skin—just visible enough to get questions. Just dangerous enough to make people look twice. I don’t know exactly when the shift happened.  Maybe it’s age.  Maybe it’s exhaustion.  Maybe it’s because whatever patience I had has officially left the building.

Rosy Myart (c1965–2065): The Artist Who Refused to Look Away. In the annals of Earth’s postmodern art history, few names cut with the clarity and honesty of artist Rosy Myart. Born in 1965, Myart came of age in the twilight of the 20th century, high on the promise that the 21st century would be a leap forward. Instead, the years 2000 to 2025 delivered disappointment. It was a time of decay disguised as progress, of distraction dressed as innovation. The public’s gaze turned t

The first monsters, known as The Grim* , were born from ink experiments. At first, they were just marks on the page, shapeless and quiet. But then, in the blink of an eye, they sprung to life. The first was The Silent One. It was delicate but sharp, moving with a quiet force. Its presence was subtle, yet it carried an unspoken mystery. It didn’t need to say anything. The next born was Vengeful. Raw, untamed, with jagged lines and power. It didn’t ask for attention, it

The scent of crushed lavender and molten copper hung heavy in the air. She stood in the dim glow of candlelight, tracing symbols into the damp pages of her ledger. This time, she was an alchemist, and her name was Isolde, though it was never hers. Names, like gold, were illusions—malleable, shifting under pressure. The magistrates tolerated her work so long as it produced tonics for the nobility and dyes for their silks. But she sought more. She whispered to the elements..