From the vocabulary of Jan Meyer-Rogge’s works it is clear that they belong to the tradition of
Concrete Art. Nevertheless, the directions they take are singular. They are constructed, but at
the same time they constitute part of the laws of nature—a “special part,” as mentioned above.
Each work stands out as a unique stroke of luck. A sculpture reduced to its simplest state, ba-
lanced but at the same time fragile, cannot be altered at will without destroying the work as a
whole. The balance achieved between and among the various forces is a slender apex, and not a
broad field of action in the possible equilibrium of the elements.

This also explains why these works are in no way didactic or merely instrumental. Gerhard Auer
once wrote about his friend, Jan Meyer-Rogge: “He is neither merely an engineer of tectonic
models (for this he is too much of a believer) nor a geometrician of Cartesian order (for that he
believes too much in the senses). The artifacts that come from his workshop are somewhat remi-
niscent of happier times when it was still possible for art, science, and crafts to converge in a
single object.”