As her website’s bio notes, “Our current geological era is one giant crime scene and we’re all personally involved.” Rogers’ understanding of culpability and focus on self-implication is evident in her work, especially in her own cameos within her video work, their varied settings and shots operating as a mouthpiece for her dreams, fears, and thoughts. Rogers is a steady excavator of society’s ills, especially the function of patriarchy in its ability to prove devastating to both the natural world and female-identifying and non-binary people.
Her artistic practice, and its engagement with violence and the Western-focused domination of all things wild, presents Rogers a way to escape this dark vision of society. Rogers’ work is instead a liberating process, where she is free to focus on building a world where empathy between humans and nature is paramount. Her most recent works emphasise the erotic and familiar motif of the mother of pearl as a sex organ. Highlighting the issue of human consumption and the unnatural cultivation of nature and violent harvesting of nature’s ornate productions, Rogers’ oysters are nature looking back at us, as our first mirror and biblical foil, to force us to think more deeply about ourselves.