On the occasion of a solo show at the Abbey of Trizay in 2006, Gérard Sourd wrote:

I imagine that many artists would feel blessed at the prospect of an exhibition in a Benedictine abbey of the 11th-12th century (…). The paintings and sculptures [of Rozen] gathered in Trizay have nothing to prove; they provide no key, are of no help, at least explicitly. They therefore do not compete with the spirit of the place, do not contradict it, nor seek to make an ally of it. These paintings, these engravings, are the sincere testimony, far from any anecdote, of a human journey inscribed in an immemorial history. They transmit an offer of brotherhood, a proposal of hope. To penetrate their meaning, we must approach them with a child’s gaze, much as we require a child’s gaze to participate in the disembodied flight of architecture.