The artistic work of the Rosa Siré is of considerable metapictoral will. In the sense that painting and the elements that support it, integrate it or join it, they are nothing more than the representation of ideas on the same process of articulation of the language of the signs and its symbolizing capacity, a particular iconography; through what we would say a particular game of language. Not precisely because of the strict rules of logic, but because of the arbitrary combination of uses, customs and references. L. Wittgenstein goes on to say that what language offers are not common essences, but a whole network of common similarities, and that meaning belongs democratically to all those who cultivate it. The work of Rosa Siré, then, could be the result of semiotizing by decontextualization of objects and textures, as opposed to forms and uses and volumes, by extrapolation of meanings. In such a way that, even so, there is a similar network or a cloning effect.

Well looked at, perhaps, it would be about re-presenting ideas, rather than drawing ideas; and if you want to configure the space of the idea, the mass of the idea, rather than representing it. That is, the work of Rosa is, in short, also of considerable metallinguistic interest, because of the rhetoric of its setting we would say synecdoche, amphibology, paradox, calambur, oxymoron and quiasm.

Josep Borrell