Rosa is named after the color the piece carries. Not a flat surface, but a background built up from several shades of pink: from soft powder pink to a deeper, more saturated pink. The name follows the color, not the other way around — that's how most titles within La Femme come about.

The position is a deliberate choice: the body turned away, the gaze averted from the viewer. Within La Femme, there are works that confront and meet the viewer's eyes head-on; Rosa does the opposite. The posture speaks to taking rest, to being allowed to exist somewhere without needing to be seen.

Painted in acrylic, with broad, bold brushstrokes building up the form. Splatters and drips have been deliberately left in place as traces of the process itself, a contrast between the softness of the pink tones and the directness with which they were applied.