In Curve (2024), Rosa Shepherd explores how a single movement can generate a complete sculptural experience. Composed of a continuous curved steel form interrupted by a subtle angular fold, the work occupies a space between drawing and architecture, gesture and structure. What appears at first glance to be a simple intervention reveals itself as a carefully balanced investigation into movement, perception, and spatial awareness.

Shepherd's practice begins not with objects but with bodily actions. A turn of the torso, a shifting footstep, or a traced path across the floor serves as the starting point for her sculptures. These movements are translated into drawings before being realised in steel, preserving the immediacy of a gesture while giving it permanence and weight.

The gentle arc of Curve creates an intimate spatial encounter. The sculpture simultaneously encloses and opens space, establishing a relationship between interior and exterior that changes as viewers move around it. From certain angles it appears as a single drawn line; from others it becomes a volume, a wall, or an architectural fragment. This continual transformation encourages an embodied experience, placing the viewer within the work's unfolding spatial logic.

While informed by the phenomenological concerns of post-minimalist sculpture, Shepherd's work maintains a distinctly personal language. In Curve, a modest gesture acquires a surprising sense of presence, demonstrating how the simplest movement can reshape our perception of space.