Interviews met Rozita Sophia Fogelman

My first art

Working hard, smart and creative in the past 50 years.

I gave myself away to become a master.

I always feel that I have so much more to learn.

The list to this question can be very long.

Let me come back to it.

No. I feel great. Thank you! And there is always room for more because It gives me the energy to push myself to new horizons.

I do not have anything favorite.

Once my daughter asked me to design a logo for her new brand, and after my second try she still did not like my proposal, so I told her that she was the most difficult client I had in the past 30 years of my professional work as a designer. We both laughed out loud.

I go out to nature, to the ocean, and hug the trees.

Yes. At age five, I knew that I wanted to be great like Mozart, Chopin, and Tchaikovsky. I started dancing at age 2.5. and studied classical dance and music since I was 6 years old.

I wish I knew.

I would like to know what my fans would like to know more about.

I am open to any questions, please visit www.rozita.com

B I O

Rozita Fogelman is a Russian/American conceptual artist and eco-art activist. Born in 1964 in Tbilisi, Georgia, she immigrated with her family to Israel in 1975, and since 1998 she lives and works in Berkeley, California.

She studied dance and music in Tbilisi, Georgia; graphic design and sculpture in Jaffa, Tel Aviv; Avni Institute of Art and Design, and in 2011, she pioneered a new multi-disciplinary media art graduate program at California State University East Bay with an emphasis on multimedia, communication, and contemporary studio practice arts.

"Style of Fogelman's work is mainly abstract expressionist with emphasis on experimental use of unconventional tools and techniques. The work's primary focus is on energy, color, and surface." Grace Munakata

A B O U T

Conceptual, abstract-expressionist, colorist, minimalist, avant-garde, an anti-war environmental activist. I work with elements, language, and abstract; using contemporary and traditional media: drawing, painting, photography, and video-art installations. Dealing with abstract representational often triggered by language, and experimental use of multi-media, times study of a single hue or a minimal form of structure.

Influenced by dance and jazz, shamanism and zen, dada and Art School of New York, the ancient Jewish Kabbalah, and Gutenberg's Movable-type, science and technology, I distinguish visual communication and sound as my first language out of five.

TADs = Tech + Art- Design service.

Lifestyle

Perfection

Solutions

Knowledge

Craft of typography

I like challenges.

So try it all

............. Andy Warhol's graphic design work.

Logo

Identity

Typography

Advertising

Books

Packaging

I use Adobe

Final Cut

ASCII

HTML

Google

Facebook

Twitter

Instagram

Amazon

Self-publishing online

Creating fashion is an online gallery

Selling my original artworks and designs online:

saatchionline.com/rozitafogelman

fineartamerica.com

My publication on:

Amazon

Blurb

issue

Arthousecoop

My online archives and collection at:

linktr.ee/rozita_com

twitter.com

facebook

linkedin

instagram/www_rozita_com

ASCII Facebook Museum

360 days a year.

Mostly at night time or really early in the mornings.

When the moon is full.

When I feel good.

When I am in love.

When I travel.

When I meet people by chance.

Sometimes, without any plan.

All the aspects are equally are important to me when I design something.

It should be perfect.

All the elements.

The composition.

The colorous.

I want to see something new.

I want to be able to understand the object without reading any manuals.

As a designer, my goal is to hypnotize you and to sell you a perfect new object.

An object that will change your life vision.

Wonderful!

Excellent!

A problem solver.

The first glans.

What is the focal point?

The composition?

That is right and what is wrong?

What is the problem?

What is the solution?

Can I view it 360 degrees around?

Are you telling me something new that may be interesting?

To tell a new story.

To show a new object.

To create a need for the new object.

Establish a marketplace for 10-25 years from now.

Will it be fresh and classic looking in 2050 or 2100?

Like IBM?

How green are you in your design?

How eco-friendly are you to the local and global community?

What are you giving back?

Will you live your signature on this planet before you leave?

I don't know.

A.I. will take it all over soon.

We are all creating platforms, knowledge, and tools for A.I. to take over in the next ten years.

SELECTED GROUP EXHIBITIONS & UPCOMING SCHEDULE OF EXHIBITIONS

2022 - 40 x 40 A’Design Award Exhibition Istanbul, by A'Design Award Competition Como, Italy

2022- Xi An City - Xi'an Aerospace City Center, A' Design Award permanent exhibition, China

2021 - Shijiazhuang City - Hebei Design Museum & Innovation design center, A' Design Award, China

2021 - 40 x 40 Shenzhen Industrial Design Fair (SZIDF), A' Design Award, China

2021 The VERY WRONG Biennale PART 2 a Collective of International WRONG Artists

2021 The WRONG Biennale - International Digital Art Project

2021 - On My Walks, Lost & Found - CSUEB Annual Alumni Exhibition

2021 - 40 x 40 A’Design Award Exhibition Istanbul, by A'Design Award Competition Turkey at Usta Design

2021 A.I. & Loftier Reality - The Nexus of Tech + Art + Design = Art Web Gallery - Italy

2020 - Send Me Love & Nude Letters - WWW Gallery

2020 - ONDA MEDIALE Exhibition the 10th edition 2020 at the Art Web Gallery - Italy

2019 The Wrong Biennale - International Digital Art Project

see more https://competition.adesignaward.com/designer.php?profile=283596

From everywhere, and anything.

From my walks to my night or daydreams, my meditations, when I cook my food, when I clean my studio, when I meet new people, from the radio, and from many other online channels like Youtube, Facebook, Instagram, Twitter, Wiki,... and so much more.

Geometrical, minimalist abstract expressionist.

I was born in Tbilisi Georgia, at the time was part of Russia. Then I moved with my family to Jerusalem, and end up living in Tel-Aviv for the next 23 years. In 1998 I moved with my new family to Berkeley, California, and never left since then.

Yes, It very important to have a rich background and as many languages as you can. However, it is also important to be stable and to learn in-depth. I am always ready to explore new adventures.

Call me up!

With contracts only.

A good designer should know everything about the companies he/she wish to work for.

You have to know that it is going to be a perfect match for you and for the companies you want to work with.

Be authentic, be ethical, be yourself in your best, to try to fool anyone.

Know what is special about you, and how you can bring your specialty to work with others in harmony, fun, and a friendly environment.

My design process is always evolving with new technology, new knowledge, and new skills.

My bedroom.

My working desktop.

My computers.

My bathtub.

My garden..

And my

I get up, take a hot, and then a cold shower, make my juice, drive to the pool, swim 90 -120 mins. Then drive back home which is also my studio but before I stop and pick up some fresh food to cook for my lunch/dinner. When all is down, I get work on my computers, starting with emails, social media, and etc,... before I go to bed, I go out to take a 2-hour walk in the park near where I live.

No fear to try new and original ideas

And if you believe in your doing it right do not stop, keep going.

Be eco-friendly.

Always keep learning.

Have a unique style.

I love my work!

I am a workaholic and when I start It is very hard for me to stop because I am so focused on what I am doing.

Sometimes I had to work 24 hours and even more.

But this is all part of the trill of knowing that your mission was successfully accomplished.

It should work in Black and White and is 360 degree.

later come colours.

So many, non stop learning, knowing 'everything' and if you get stock, Google it.

In real life, It is important to learn how to be flexible when working with others.

Do sports, eat healthy, learn how to deep dive in many subjects at the same time.

Be like a sea and have a knowledge of an ocean.

Always make a 3D or 360 model.

Never give up.

Never say sorry.

Feel what you feel.

Take your time to think.

Sleep on it.

Swim in it.

Reasoning it.

Listening to it.

Know how to justify it.

Feel safe about your feeling it.

Always ask yourself again, really? why?

No. Is not a good reason to stop.

Always try to better.

Otherwise no point.

Create something new before others.

I am an Adobe user since 1990.

I paint with acrylic of canvas.

I create sculptures from found object.

I photograph with my little Canon Power Shoot.

I use Final Cut.

I like to improvise, and even using HTML code can be my tool.

I create art and designs using ASCII only on HTML walls in real-time online.

My backups, my macs, my memory cards,.... etc.

I am a digital artist and eco-artist - meaning I have ZERO merchandise and all you can buy is in number of online galleries, on amazon my books are printed on demand.

I still have some paper, pencils and pens.

Well,... I am being super productive with my time, and what first needs my attention needs to be addressed first. I take time daily for my physical body and mental body before I get to my design work.

Indeed, designing often is a very time consuming work, and therefore, I try to manage everything before my mind is 100% clear about my design task. Often, I have to pool myself, and go to swim, to take a walk, or go to sleep, so when I come to do my design work I feel fresh, and mind free.

Some object can be designed in 10min or less.

Others can take years or longer.

It is really all about the momentum, knowledge of the subject, knowledge of the problem and having the correct solution.

After all asking "design an object" is an abstract question.

Some objets also only have beginning but never end.

That is a good question. I need to think about it.

Creating a weekly newspaper all by hand, back in Tel-Aviv in 1990 which was done all by hand before we got the very first Macintosh computers. Also working in the dark room in 1990, doing colour separation, going down to the printer at 3am and trouble shutting often till 5-6am. ... and so much more.

Creating a logo for the career department at California State University East Bay in 2009.

Working, teaching and exhibiting works of elderly and disabled artists in the Expression Gallery from 2011-2015 in Berkeley, California. It was a great working experience as an Art Director managing the artworks of 80+ artist for every art show.

Working in Advertising agencies as an Art Director and managing art studies and often working 24 hours before presentations to win the yearly advertising budget. It was a great adrenaline rush!

World wide.

I love working on large brands, starting from A point which is the logo to Z point of 100% perfect product, or working solution to a new innovate problem.

Keep working every day, I do not know what future holds for me. I am open to see and try it all.

Yes, I love working with teams, however, 99% of my work comes from working in solitude.

Yes. I always have number of series work in progress. "Too much to do, too little time."

Email: rozita.fogelman@gmail.com

My vision for the Facebook Museum ASCII Digital Design Museum emerged from a long-standing commitment to environmentally responsible creative practice. After engaging with sustainability-focused cultural movements in the early 2000s, I began to critically reassess the material and spatial assumptions embedded in traditional exhibition models. Physical museums require buildings, transportation, climate control, printed materials, and storage, all of which carry significant environmental costs. By contrast, a fully digital museum can operate continuously without consuming physical resources. When I launched the museum in 2010, I envisioned it as a distributed, cloud-based cultural space—one that could preserve, exhibit, and disseminate work globally while eliminating material waste. The digital format was not a compromise, but a deliberate structural solution aligned with ecological responsibility and public accessibility.

ASCII is one of the most fundamental and durable encoding systems of the digital age, designed to represent information through characters rather than images. I chose ASCII precisely because of its stability, universality, and independence from proprietary software. By working with characters instead of pixels, the museum preserves works in a format that is lightweight, easily archived, and highly resilient to technological change. This aligns with my broader vision of contemporary art preservation: prioritizing systems that can endure shifts in platforms, devices, and display technologies. ASCII-based works can be stored, transmitted, and reinterpreted decades into the future without degradation, making them especially suited to long-term digital archiving.

The evolution of social media platforms has reinforced my interest in open, participatory digital spaces as legitimate sites for artistic research. In the early stages, I was drawn to Facebook as a simple HTML-based environment where text could be used directly as visual material. Over time, as platforms became more image-driven and algorithmically complex, the museum’s commitment to text-based creation became increasingly distinct. Rather than adapting to trends, the project maintained a consistent methodology rooted in constraint, repetition, and structural clarity. This continuity allowed the museum to function as a longitudinal study of digital culture, documenting how a minimal, systems-based approach can remain relevant despite changing technological conditions.

My multidisciplinary background strongly informs how I think about structure, rhythm, and spatial organization. Dance introduced me to embodied systems and temporal sequencing; music taught me how complex compositions emerge from repeated patterns and rules; fine art provided a space for visual exploration and abstraction. Digital curation in the museum draws from all three disciplines. Works are not arranged narratively or illustratively, but structurally, emphasizing rhythm, balance, and repetition. The museum itself operates as a composed system rather than a static container, reflecting an interdisciplinary understanding of how meaning and form emerge over time.

The project demonstrates that sustained artistic production does not require physical consumption. By operating entirely within digital environments, the museum eliminates the need for materials such as paper, canvas, pigments, solvents, packaging, transportation, and storage. This approach enables continuous experimentation and archiving without generating waste. Importantly, sustainability here is not presented as a thematic statement, but as an operational model. The museum functions as proof that environmentally responsible practices can support long-term, high-volume creative research while remaining accessible and culturally meaningful.

Recognition from the A’ Design Award provided an important validation of the museum’s research-driven approach to digital design and sustainability. It reinforced the relevance of systems-based, non-commercial digital practice within international design discourse. This acknowledgment encouraged further documentation, publication, and institutional framing of the work, allowing the museum to be presented not only as an online archive, but also as a reference model for digital cultural infrastructure. The award strengthened the museum’s visibility while supporting its long-term positioning as a serious research platform.

The use of special characters emerged from an interest in early communication systems that relied on minimal symbols to convey complex information. Morse code, movable type, and early computational interfaces all operate through constrained symbolic vocabularies. By extending this logic to ASCII and Unicode characters, I developed a visual language that prioritizes structure over representation. The system relies on repetition, alignment, and contrast rather than illustrative detail. This approach connects historical encoding practices with contemporary digital environments, highlighting continuity between early communication systems and modern computational design.

A continuously accessible digital museum challenges traditional limitations of time, geography, and institutional gatekeeping. By operating 24/7, the museum allows audiences to engage with work asynchronously, according to their own contexts and rhythms. This model supports ongoing dialogue rather than event-based consumption. As digital culture continues to expand, such models may complement physical institutions by providing persistent, low-resource platforms for research, experimentation, and public engagement. The museum demonstrates how curatorial practice can evolve alongside digital infrastructure without sacrificing rigor or depth.

One of the most significant discoveries was the sheer scalability of text-based systems. Small structural variations produced a wide range of visual outcomes, allowing for extensive exploration within a limited framework. Additionally, the daily nature of the practice revealed how repetition fosters depth rather than redundancy. Community engagement was another unexpected outcome; the public, real-time nature of the platform encouraged dialogue, observation, and shared learning. These discoveries reinforced the idea that simple systems, when sustained over time, can support complex cultural ecosystems.

The museum will continue to evolve as a living archive that documents long-term digital practice. Future development focuses on expanded documentation, parallel archiving, and publication-based preservation to ensure resilience beyond any single platform. By maintaining a text-based foundation, the museum remains adaptable to future technologies while preserving the integrity of its visual systems. Ultimately, the project aims to serve as a reference framework for sustainable, systems-driven digital art—one that prioritizes longevity, accessibility, and structural clarity over short-term technological novelty.