“Felix Rozen is an ethnologist specialized in civilizations that never existed,”

Hélène Saint-Riquier wrote in Ouest-France, in 2004, on the occasion of a personal exhibition by Rozen at the Convention and Cultural Center of Le Mans.

To bring a possible language to the indecipherable, to inscribe the smallest of echoes in the immense score of the world, Felix Rozen has consistently devoted himself to the most diverse, the most emblematic experiments — notably those baptized by him as engraving or pyrocera painting — which constitute an unprecedented combination of techniques and materials: from metal engraving to the use of wax, submitted for the final touch to the flame of a torch. From predictable clashes between universal contrasts, the cold and the hot, the hard and the malleable, a work is born in the hands of an artist ready to go as far as burning [it] so it may exist.

Nicole Ambourg, documentation curator at the Musée des Années 30, in the context of the exhibition “Jean Lambert-Rucki and Felix Rozen, Expressionism — Between Representation and Abstraction,” late 2004-early 2005.

For Felix Rozen

The sun
doesn’t know
what
the night
is about
to respond
but painters
reply
with suns

Pierre Béarn