Alison Rossiter takes a minimalist approach to creating her photographs. She does not use a camera or film, nor does she use light. Since 2007, she has processed sheets of expired gelatin silver paper in photographic chemicals in the darkroom. Her work begins with collecting packages of commercially manufactured papers dating from 1900 onward, with a few rare examples from the nineteenth century, and is completed by the simple acts of immersing or dipping a sheet of paper in developer, or of pouring or pooling the developer on the sheet, followed by stopping and fixing the print. She refers to her work in terms of “latent images,” which have already been more or less fully formed by use or neglect and must simply be developed and fixed, and “processing experiments,” which require more intervention to create images. Rossiter achieves a rich array of results, with some works suggesting the faint impressions of primitive mark-making, others resembling landscapes, and still others calling to mind mid-twentieth-century painterly abstractions. Through the fundamentals of analog photography, she develops a dialogue between technology, process, the history of the medium and simple, raw materials. Rossiter studied at the Rochester Institute of Technology and Banff Centre School of Fine Arts. Her photographs have been collected by institutions including the Art Institute of Chicago; Philadelphia Museum of Art; Minneapolis Institute of Arts; Museum of Fine Arts, Houston; and Center for Creative Photography, Tucson. Most recently, her work was featured in the exhibition Light, Paper, Process: Reinventing Photography at the J. Paul Getty Museum in Los Angeles. She currently lives and works in Navesink, New Jersey, and Manhattan.