Felix Rozen’s painting moves. In every sense (of the term and the picture), in time and in space. What a rapid evolution since the more explicit violence of 1974! Now, signs and marks multiply, cross-split, swarm but are organized as if they were maneuvered by invisible magnetic fields, with a preference for vertical and parallel bands. Hence that music-like shimmer produced by the interweaving of so many polychrome mini-elements. In this regard, the onlooker will warm to Maximal Art among several other large triptychs, or the Giant Palimpsest, which, according to the author perhaps, no title being random, is heading toward a form of oriental calligraphy. Could the goal of this feverish impatience be to achieve the Transequilibrium which Christian Dotremont credited him with? Let us cast aside any attempt at glossarial conjectures and be content with the current result: beautiful works whose substance we shall never exhaust.

Jean-Marie Dunoyer, “From Everywhere and Elsewhere”, Le Monde, May 1979.

Unlike his friend Marfaing, who advised him to “simplify, simplify…” Rozen, by his own admission, “complicated, complicated….” For him, art cannot pass through the prism of a gaze other than his own, however benevolent: it is above all, as we can but guess, an identity journey, a means of uncovering an existential space befitting his sense of scale. In this perspective, Rozen does not make art to be recognized, but to discover himself, and open up.

Gérard Sourd, Nouvelles de l’estampe, March 1995.