In contrast to their anti-consumer content, however, the aesthetic impression of her photographs is almost that of advertising and in many respects akin to marketing photography. The attractiveness of vivid colours and the advertising exposure of the objects, on the one hand, draw attention to the deceptiveness of such photography, in which the impact is more important than the advertised thing itself that has no market value whatsoever. On the other hand, it draws attention to the importance of these objects, to their high sentimental dimension for the artist. Her lively backgrounds and dizzying compositions are an allusion to children's play that is the background of all of her works. Even with the arrangement for the photo itself, playing with things is a key element that gives the compositions the impression of randomness. In otherwise abstract compositions, children's toys and other domestic objects often literally sneak in. Through them, Rosc explores the possibility of reconciling the past and the present. She includes them in compositions with more modern materials that highlight the contrasts between domestic and foreign, natural and artificial, past and present. Her works are the artist's attempt to incorporate a part of children's play into her adult life - at the same time with the act of artistic creation, which by combining seemingly incompatible materials and non-functional objects is in itself playful, and on the other hand also with the content, by putting children's toys and homework on a pedestal, like art. This is how, through different photographic series, she tells the same story - about growing up, home and new meanings of old things.