Rogers works intuitively to create works that play with depth, perspective and space; the artist constructs his compositions through a layering of thin washes of colour which are overlaid with replicating motifs, exacting botanical forms and domestic interiors. His work is characterised by an emphasis of organic, fluid line reminiscent of the curvaceous forms of Art Nouveau, and calligraphic inflections of the Viennese Secession.

The artist takes botanical and natural forms as a departure point for his work, to create fantastical, edenic settings in which his figures are immersed. His rounded anatomical outlines respond to the directional perspectives of his floral motifs in a dialectic entanglement, in which human and natural environments coalesce. As such, the artist’s oeuvre negates the traditions of Romantic painting and its view of nature and the sublime. Rogers uses his botanical forms to lend structure to interior spaces, blending them with the geometric patterns of textiles, while voluptuous vases point to the domesticisation of the floral.

Roger’s figures embrace their naturalist form, referencing in their nudity a paradisical state. For the artist, this approach is bound up with queer identity and the navigation of the public and the private. Though not seeking autobiographical record, the artist uses himself as a model to inform the postures of his subjects, which he suffuses with an homoeroticism. Often depicted in profile, the figures embody a kinetic, rhythmic quality reminiscent of Classical friezes and sculptural reliefs, yet Rogers’ subjects refute a staged performativity, instead the artist imbues them with a psychologically charged agency. In their nude state and expressive gesturalism his subjects posit an alternative possibility for the conditions of contemporary masculinity.