With her main interest being the emergence of visual meaning, Rossi‘s work moves between seeing, thinking and remembering, focussing on the genesis of the visible before any categorisation. The small-scale, untitled paintings are constructed according to the logic of materials and are perceived as tools for reflection, with the combination of colors and shapes constituting an abstract diary based on personal experience. The resulting images are like visual morphemes that remain open to interpretation. Rather than tying a signifier to a meaning, Rossi uses abstraction as a structural form of constant affirmation and negation. She sees her working method as a kind of „mental metabolism“ whose forms manifest themselves directly on the canvas, less interested in the illusionistic representation of reality than in how images can reveal a system of thought.