The vocabulary is deliberately reduced to the simplest terms: steel rods and cylinders, forged
steel rings, small and large steel angles, geometrical forms that are divided, stacked, slid into
one another, or wedged; elements that touch and support one another, elements that in all their
various configurations result in new constructions and architectural structures. The conditions
existing at the start of the process are not concealed or displaced by the realities of the new
composition. These sculptures disclose their conditions and the process of their development
without restriction. Indeed, this is precisely what lends them their strength and tension. In
reference to the works of Jan Meyer-Rogge, Max Imdahl once said: “I believe it to be
characteristic for Meyer-Rogge sculptures that they do not represent anything that they do not
actually achieve themselves. What we see is not the representation of balance. It is rather that
representation cannot be distinguished from the reality of balance in these works.” This also
holds true for other cycles such as “Equilibrium, balance, and the restlessness therein,” or
“Architecture of equilibrium” or “At the point of equilibrium”—and not just as far as the idea
of balance is concerned.