in: Rosa M Hessling. "Garden of Light III", Rheinisches LandesMuseum Bonn, 2008

Reproducing Rosa M Hessling’s work is almost impossible. Looking from different viewing angles the color in part changes radically; it changes completely, and we see a painting almost as if it were alive reacting to our movements. The artist achieves this technologically with a relatively new generation of pigments having an iridescent play of color, which through refracted light across thin, half-transparent layers, shine, and interference effects depending on the angle of the viewpoint, run through the spectrum between different tonalities.

in: Rosa M Hessling. "Garden of Light II", Kunstmuseum Mülheim, Stadtmuseum Siegburg, Dortmunder Kunstverein, 2002

When chance and time allow us to examine a work of art with conclusive consistency, the question that always arouses the most interest is how the artist conceived the idea in the first place, where the concept for the work of art took seed, and what were the steps that accompanied the creative process. The painter Rosa M Hessling, whom we also know as a photo artist, describes herself as a gardener of light. And this applies to various aspects of her work. But what does she mean by this? Using light to create pictures: is this not what artistic photography is all about. It is certainly unusual to use photographic terminology to talk about an artist who indeed uses this medium, but whose activities are clearly predominantly devoted to painting.

in: Rosa M Hessling. "Garden of Light I", Museum für Konkrete Kunst, Ingolstadt 2002

"And you must become so engrossed in that light
That it is impossible to decide
To direct your attention elsewhere",

were Dante Alighieri's words in Canto XXXIII of his Divina Commedia on the human perception of God, an aura that captivates mind and soul. What is meant is the purest light sent from Heaven, the empyreum, the light from the Holy Ghost.