Her early work in 1990s New York examined the female body in relation to art history and cultural objectification. She gained recognition while still in art school, exhibiting at Andrea Rosen Gallery (1993) and as a founding member of Art Club 2000, a collaborative experiment with dealer Colin de Land at American Fine Arts Co. that engaged in institutional critique of the art market (1992). She participated in the lesbian art collective fierce pussy (1991), worked at Pat Hearn Gallery, and had her first solo exhibition at Thomas Erben Gallery (1996), followed by shows in Spain, Switzerland, and Italy. Her series Velocity (1998) featured her mother's 1970s paintings projected onto her body—work that collapsed generational, artistic, and personal narratives with cinematic cues.

After witnessing the September 11 attacks in New York, Rossiter's practice underwent a significant transformation. She made her last performative work in Switzerland in 2003, shifting from work informed by trauma and feminist resistance toward investigations of consciousness and perception through nature and architecture as thresholds. Her large-scale photographic and sculptural installations in Los Angeles (2006-2010) created immersive experiences where crystals, water, and flowering trees functioned as abstract visual fields that transmitted states of awareness.

In 2010, following the birth of her first child, 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, and Mexico 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 meant to integrate spiritual practice with abstract form.

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.

Since moving to Paris in 2023, her practice has evolved through two recent bodies of work: Imprint (2025, Febo & Dafne Gallery, Turin)—gestural monoprint paintings and performative photographs exploring transience and the body's relationship to painted surfaces—and her current geometric series Wonderland, which investigates painting as portal and contemplative site, drawing from lineages of color field painting, tantric art, 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.