Prins achieves a luminous and shimmering formal elegance...and arrives at a moment where the sensual, the spiritual, and mythological blend in a marriage of materials and psychological insight...  In the work of Rose Marie Prins a deeply satisfying balance is reached between a conceptual elegance that comes to embody an idea through a choice of diverse materials and metaphorical abstractions regarding the mysterious and the unknown. Prins's work takes its place in the continuum of world mythology, archetypal psychology, and cross–cultural spiritual practice without falling prey to spiritual or mythological stereotypes. Prins manages to sublimate overt sexual differences in favor of abstract spaces full of visual poetry, where female and male energy dance their inscrutable dance, thereby continuing to recreate the world.

Diane Armitage, Visual Arts Coordinator,

"Aphrodite's Temple/The Golden Serpent,"

Center for Contemporary Arts, Santa Fe, New Mexico.

Some of the strongest art currently showing...is the work of South African–born, Rose Marie Prins... Though her visual language speaks to some of the most powerful sociopolitical issues of our time, she also reveres process. Hers is cathartic with surprisingly violent aesthetic impulses like gouging, burning, or slashing. Wounding the canvas (or paper) is followed by healing rituals with...wire stitches, a legacy of watching her mother and grandmother, both expert seamstresses. Yet the stitching seems more philosophically empowered than a feminine gesture.

Adrienne Golub in "Biographical Touchstones," Weekly Planet

Prins' mixed media works probe the notions of trauma and healing, destruction and rebirth. She slashes or burns her canvases, then repairs the wounds with wire stitches that branch off like waterways on a map or that coalesce surprisingly... Prins' work voicelessly discloses a self–portrait...

Curtia James, "Gallery Has Brought Six Artists Together for a Conversation,"

Richmond Times–Dispatch

Raymond Lawrence Gallery continues the international theme withe South African )migr) Rose Marie Prins, whose Joseph Beuys–like paintings form their dark crosses from cuts, scars and found metallic objects. One large, powerful canvas consists of nothing more than a broad field of artfully cultivated mold stains plus a few strokes of black paint. As in Prins' moth sculptures of cast paper and animal bone, placement is everything.

Jerry Cullum, "A Tula Smorgasbord: Botanicals, Birds, Abstraction,"

The Atlanta Journal–Constitution

Prins presents us with a... cerebral melancholia in her heavily worked canvases, which could be described, with their slashes stitched tiogether with course wire, as mutilations. She has begun adding found objects to them and... they enrich her aggressive technique, as in Chiti Shaki, on which a piece of metal curves across the surface like an injured spine held with a crude pin... Two departures from her somber palette, Dervish Dance and Shaman's Dance, are fabulous expressionist swoops of black against dense and vibrant blue and tan.

Lennie Bennett, "Inspired by Experience,"

The St. Petersburg Times

Rose Marie's work is rich in texture, thoughtful, thought–provoking and, ultimately, optimistic.

John Roll, "Varied Paths: An Artist's Journey,"

Northeast Journal

Rose Marie Prins' small, mixed media, wall–hung works... were generated by over thirty years devoted to the practice and study of yoga. This first solo show on the subject features twenty–seven works...

Prins' focus on yoga, like all of her oeuvre, fuses the Duchampian found object legacy with a labor–intensive process based on alchemical models of transformation. Her media include barbed wire, burned paper, nails, screws, tars, resin, and rhoplex. During an extended fabrication process it's not unusual for the artist to weather her work outside. Less obvious, but not undetectable, is the artist's practice of embedding her remarkable biography into art teaming with metaphor...one of the pleasures of Prins work is that recognizing influences is not critical in appreciating or decipherimg layers of meaning or emotional impact.

Her most successful works consist of fabricated textured fields of background angst stabilized by small, classically–centered and perfectly–placed found objects. In the outstanding Maya (2002), a metal grid covers a central circle fastened by copper wire forming a cross. Small found objects intentionally trapped below a scratched and gouged surface resemble microscopic views of organic material, or topograhy transformed by a skin of impenetrable encaustic lava.

It's impossible to ignore African art as another touch–stone based on symmetry and coloration. Though solidified by encaustic, Prins' surfaces are enlivened by shimmering flecks of gold, coagulated rivers of ochres, and restrained copper...

Adrienne M. Golub, Art Papers

Rose Marie Prins has a Ph.D. in Studio Art and Arts Administration from The Union Institute and University, an M.A. in Art from Goddard College, a B.F.A. in Painting from the San Francisco Art Institute, Teaching Credentials in Art from San Francisco State University, and a National Senior Certificate from the Johannesburg School of Art. Prins also studied studio art and feminist theory at the Woman's Building in Los Angeles and at the California Institute of Integral Studies in San Francisco. Her mixed media paintings and sculpture have been exhibited throughout the United States (including the San Francisco Museum of Modern Art), as well as in her native South Africa. Her most recent solo exhibition was in 2007 at C. Emerson Fine Arts in St Petersburg.

Among the grants and awards that she has received are fellowships to the Mary Anderson Center and the Hambidge Center, artists retreats, numerous grants as an Artist–in–Education in New Mexico and Virginia, and a scholarship from The Union Institute and University. Prins received a Professional Development Grant from Pinellas County Cultural Affairs in 2007, the John Brown Memorial Award for Painting in the Twelfth Annual All Florida Juried Exhibition in 2003, and juror's awards in the Twelfth Annual Women in the Visual Arts 1998 International Competition, Fourth Annual Exhibit: Art Windows on Route 66 (1989), and Third Annual Three Rivers Art Expo: On and Of Paper (1987) and others.

For the past seven years Rose Marie Prins has taught painting, drawing, sculpture and mixed media in a variety of institutions in Florida, including Eckerd College, the School of Visual and Performing Arts at Hillsborough Community College, the Gulf Coast Museum and The Arts Center in St. Petersburg. Besides teaching painting at The Arts Center and in Eckerd College's Program for Experienced Learners, Prins currently teaches drawing at the Ringling College of Art and Design.