Sculptress Rosan Bosch works with an exceedingly direct approach to the materials, whereby she imparts to her sculptures an organic, bodily form - frequently in a tremendous scale. Already at a distance, the viewer receives a a warning about approaching something obtrusive and filled with risk. Instinctively, this arouses fascination but also brings about a sense of hesitation. Regardless of whether the sculpture is standing upright, laying down or floating freely in the room, a surrounding field of tension is quickly established. The reason for this is especially the artist's untraditional choice of materials: ranging from wax, latex and glue-soaked paper to bundled jumbles of garlic salami, smoked pork or oily hog casings. Sensory impressions such as smell and slowly oozing or dripping liquids thus become part and parcel of her sculpture's plenitude and existence.

The art that Rosan Bosch creates possesses a distinctive dualistic polarity. This manifests itself formally when, posing a contrast to the sculpture's expressive appearance, she creates in metal or plastic a stringently constructed architectonic frame or demarcation as an integral part of the work. Concealed inside the abstract form, however, there is also an epic core, whose most essential property is to tell of a transgression of our thresholds of intimacy.
It is precisely by means of this transgression that a kind of accordance between sculpture and viewer is established. For it is here, in this point of intersection, that the sculpture as a meaning laden bodysign moves over toward people's conventional notions of "the repulsive and unsavory". The characteristic organic forms and texturalities call to mind associations with body fragments, body openings and internal organs which situate themselves in a nascent state, where both female and male sexuality have come into existence but have not yet been separated.
In order to intensify the meeting between work an viewer, Rosan Bosch also makes use of a surprise-strategy. For example, a layer of white cream is used - completely unexpectedly - as the skin of a sculpture. To an extraordinary degree, Bosch's works constitute sensory gestalts with physical reality; they are like projections of the viewer's own vulnerable situation, all at once sad and relieved.

With her works, Rosan Bosch is pointing toward that condition of crisis which Julia Kristeva sees as being manifest in a part of contemporary art's adaptions of the fragmented human body, and often in a sickening and shocking manner. From a text on Rosan Bosch by Ann Lumbye Sørensen.

Velkommen til Rosan Bosch' hjemmeside. Rosan Bosch er en hollandsk født kunstner, der bor og arbejder i København. Rosan Bosch arbejder med installationer, skulptur og video.