Cozette Russell
Cozette Russell

Born 1978, Exeter, NH, lives in New Hampshire 

I treat the photograph as a site of revision, extending a feminist tradition that understands images as spaces of construction and intervention. My self‑portraits begin as single exposures and then move through processes of cutting, layering, projecting, and re‑photographing. I figure the body as future‑building, moving across spaces, screens, and surfaces, accumulating traces and refusing capture. 

My films and photographs have shown at various galleries and museums including SFMOMA, the Wexner Center for the Arts, NADA Curated, Harvard University, the University of New England, the University of New Hampshire, Antioch College, and A.I.R. Gallery in Brooklyn, New York, where I’m a member. 

cozetterussell@gmail.com
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The Wilds v.2, 2026, 140 x 102 in. risograph collage
        
The Wilds v.2 (detail)
Untitled (summer studio/winter studio II), 2025, archival photograph, bricks, twine, 54.5x38.5x6 in.
photo credit: Charles Purvis



Salt, Sulfur, Mercury group exhibition at A.I.R. Gallery, Brooklyn, NY 2026
photo credit: Matthew Sherman

 
Untitled (summer studio/winter studio 3), 2026, 50x30.5x6 in.
Earthly Places, 2026, 30x25 in.
Still Life with J’s AFO Braces, 2025, Archival photograph, maple frame, steel 50.5 x 43.5 x 38.5 in.


Untitled (summer studio/winter studio) 
2023, 47 x 34 x 6 inches. 
framed archival print photograph (no glass), bricks, and twine
Edition of 2 + 2 AP

“Letters occupy an anticipatory temporality. The letter writer extrapolates the future of their recipient, looking ahead from a present that is already past. The letter’s uncanny entwinement of temporal frames is insistent in Cozette Russell’s Untitled (summer studio/winter studio) (2023), a photographic installation in which two stacks of two bricks support a collaged photo print. Visible in the print is an identical doubled image of a woman, blurred by motion, who appears to fall, twice, and each time to catch herself on hands and knees. Drawing on the essential latency of photography—which parallels that of the epistolary form—Russell’s work is like a hall of mirrors that divides and deepens time, reaching simultaneously into a past twice removed through layers of film and into a possibility proposed by the bricks and their gravity.“

- Nicole Kaack, Curator, “Write me letters” you write to me
A.I.R. Gallery, June 2024



Untitled (summer studio/winter studio), 2024, archival photograph, 47 x 34 x 6 in. A.I.R. Gallery, photo credit: Matthew Sherman

Flux(us), group exhibition, 92 Seattle, Harvard University, photo credit: Yulia Spiridonova

Untitled (sequence 01), 2025, 70 x 94 in. Archival photographs
Documentation from Upstate Art Weekend 2025, The Post Office, Port Ewen, NY Photo credit: Charles Purvis

Twenty-four photographs, paneled in a grid, show a meadow and a hand moving a rope—or sometimes just the rope itself. In this landscape, the rope acts as an extension of the body. The vegetation is dense and unruly.

The hand pulls, throws, drags the rope, or lets it fall slack. The camera captures the rope always mid-gesture. There is no resolution, only a restless ongoingness, freeing oneself through the rhythm of the task.



Quiet Architecture, 2026, 27 x 25 in. Archival photograph






Murmur Mother v. 1-5.1 (with hand punched braille) 2024, archival prints with hand punched braille in
wooden frames, 13.5 x 12 x 1 in. Edition of 5 + 3 AP



Image (l) Murmur Mother v. 3,  2024,  framed archival print photograph with hand-punched braille (no glass)  33 x 40 x 3 in. Edition of 2 + 2 AP
Image (r) Installation view, Murmur Mother v. 3  A.I.R. Gallery, Photo credit: Matthew Sherman