Shrosbree, a 2019 Guggenheim Fellow, uses abstraction to explore humanistic experience. He is noted for his intimate, organic, ceramic and mixed-media sculpture that suggests the figure as both a physical entity and hallowed site of being. His highly distilled imagery is formed out of simple, yet idiosyncratic materials and is placed within the context of architecture. His sculpture that hangs from the wall often includes drawn lines and/or colored shapes that are placed behind and/or around his forms and many have physical linear connections, like wire, uniting the form and the wall through suspension and/or tension. His play between sculpture and painting and drawing forms a precarious set of relationships, while affirming the architectural space in which his sculpture, like those that come to view them, temporarily occupies. Shrosbree's free-standing pieces incorporate custom pedestals, trivet-like platforms and/or cloth coverings. The latter elude to domestic or embodied space, while inviting responses to texture memory. Fake fur, nylon, a piece of blanket, natural or painted wood are all common materials in his work. They lay a foundation for his biomorphic forms that rest above. These "stacks", as the artist sometimes refers to them, may be read as altars; Shrosbree acknowledges his Catholic upbringing and Eastern Indian influence. They also imply a studio work space where a soiled rag, a rubber band, or a piece of felt with some stray hair, possibly from a dog, become sacred materials. For Shrosbree, the studio is a space where the most common of things can be transformed into art, especially when, as his contemporary John Duff has stated, the artist is "conscious of the act of being conscious."