This painting is meant to be listened to. It echoes an entire life experience, not so as to forget the loss of music-loving parents or that of an older brother, killed on the Belarusian front and all the vicissitudes of an eventful youth between Russia and Poland in a climate of political and religious unrest, but to build, from the moment of his arrival in Paris in 1966, a future based on talent and work. As Marcelin Pleynet points out, Rozen’s work is no longer frontal nor even three-dimensional; it is situated in its relationship to music, in a movement or rather an inner impetus that institutes it in [the prospect of] “entering a frame.”

Jean-François Jaeger, catalog of the exhibition “Letters to Paul Klee (25 paintings on Japanese paper),” at the Jeanne Bucher Gallery, in 2006.