Geometry as Torso

In terms of content, the sculptor works on two levels. She draws from the reservoir of geometry in order to transfer some of its formally perfected contents into stone, while at the same time referring to a reality in which geometry appears in a functional way: architecture. In this context, the sculptures gain a further dimension. They are no longer mere form. Rather, they reveal themselves as parts of a construction that must be thought within larger relationships. If executed on an oversized scale, they would be walkable and their classical proportions could be experienced directly.

Such aspects become pressing when Rosa Jaisli tilts some of her works into the horizontal and compels us to consider from above the relationship between angles, segments of spheres, openings, and sculptural masses. Spaces then turn into interiors, planes into walls, while the unworked parts of the pieces take on the character of ruins. At that point at the latest, the archaeological components of her work become consciously apparent.