Michael Fehr expressed a similar idea when he drew a remote but not entirely implausible
connection between the works of Jan Meyer-Rogge and the medieval Neoplatonic debate over
the problem of universals—a debate based on the principle that terms are inherent in the things
themselves. Without doubt this opens up a vast field of possibilities for interpreting the relation-
ship between and among ‘being,’ the ‘envisagement of being,’ and the ‘concepts of the theory
of being.’ It is a broad path that leads not only into the philosophical, but also, no doubt, into
the existential realm of these works. But it is possible as well to venture beyond this plane and
explore the works from the angle of the different emotions they elicit—from the feeling of ad-
miration for the free spatial cues that emerge from the interaction of the components, to the sense
of uneasiness that a careless move might disturb the fragile balance and topple the delicate struc-
ture. The sculptures appeal not only to reason, but also to our emotions. On the one hand, we
realize that there is an endless potential for unique constructions within the general physical struc-
tures of our reality, and, on the other, we experience a sense of delight that comes from the fact
that it is still possible to move freely and playfully within those general conditions.