Her early work in 1990s New York examined the female body in relation to art history and cultural objectification. In 1993 she gained recognition while still in art school, exhibiting her photographs at Andrea Rosen Gallery and with Art Club 2000 at American Fine Arts Co. In 1996 she had her first solo gallery exhibition at Thomas Erben Gallery in SoHo, followed by shows in Spain, Switzerland, and Italy. In 1998 she exhibited her series Velocity featuring her mother's paintings from the 1970’s, projected onto her body— work that interogated generational, artistic, and personal narratives with cinematic cues.

In 1997, Rossiter founded and directed Velocity Gallery in Brooklyn, a space dedicated to exhibiting emerging women artists. Her work with Art Club 2000 (1992-1993) has been featured in retrospective exhibitions at the Carrillo Gil Art Museum (Mexico City), the New Museum and Artists Space (New York), and Kunsthalle Zürich.

After witnessing the September 11 attacks in New York in 2001, Rossiter's practice underwent a significant transformation. She made her last performative photographs in Switzerland in 2003, shifting from work informed by trauma and resistance toward investigations of consciousness and the Self with photographs of nature and architecture functioning as thresholds or openings. Her large-scale photographic installations in Los Angeles (2006-2009) created immersive experiences where portals, water, sky and flowering trees functioned as abstract visual fields that directed awareness within.

In 2010, Rossiter returned to painting and developed an abstract practice that prioritized direct material experience over conceptual planning. She became increasingly nomadic, working between California, New York, Hawaii, Mexico and Paris — creating hundreds of small gestural abstractions. During this period, she developed a creative flow that drew on the elemental energy of place, allowing intuitive and receptive states to guide the work, an approach that integrated spiritual practice with physical and visual form.

In 2025, her exhibition Imprint (Febo & Dafne Gallery, Turin) featured new paintings made by pressing the canvas onto paintings on paper and making gestural monoprints. That same year she exhibited black and white photographs exploring the body's relationship to remnants of those paintings. Her current geometric Portal series (2025-2026) investigates painting as a meditative site, drawing from lineages of color field painting, yantras, and contemporary geometric abstraction.

Rossiter's practice continues to explore thresholds: between presence and absence, body and landscape, making and observing—approaching painting as both material and metaphysical inquiry.