Viewed from a distance, Rozenman’s sculptures are easily mistaken for something they’re not.

The colour, form, finish, protuberances and apparent strength lead to the illusory conclusion that the medium is metallic. Looking closer, detail gives way to the truth; areas of translucence refract light, cross sections show interior polish and the gleam is not that of metal, but rather that of glass. This moment of recognition also signals the beginning of a process of negotiation as the viewer must reconcile the discord between characteristics and material: instead of strong, the work is fragile; instead of permanent, transient; instead of harsh, empathetic.