Category Archives: Elena del Rivero

Elena del Rivero on Anne Chu

In this small drawing, a pigmented square is barely visible within the margin of the cotton paper; overlapping this square is yet another, stitched with black thread. All of this is offset by a large bright red contour in the shape of a clover. This drawing, made in 1994, calls to mind many of Chu’s preoccupations: the yarn and embroidered fabric that have been part of her vocabulary for years and the bright colors she has used in her figurative sculptures, glazed ceramics, paintings, and watercolors. The drawing attracts and holds my attention not only because of the thoughtfully placed objects and their starkly contrasting colors, but also because of the visual meanings these elements invoke.

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Teo González on Elena del Rivero

In Letter to Wynn Kramarsky, Elena del Rivero entices the viewer — or reader, depending on one’s reference point — to look deeper into this painted-over letter. It is a mystery that will never be revealed, not even to the person for whom it was written.

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Elena del Rivero on John Fraser

A shape resembling a ruler is placed in the middle of two rectangular sheets of paper making a cross. This shape is made mostly of paper, but I also see different textures, some tarlatan and fabric as well. The materials blend together as if by the sheer magic of an architect’s mind; the result is a beautiful, constructed drawing, an exquisite mixed media formalistic collage on Japanese paper. While its strength may be geometry, there is also a refined subtlety of color that draws me closer to the work.

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Elena del Rivero on Allyson Strafella

The beauty of Allyson Strafella’s carbon paper drawing process lies not only in the unique work of art that is its product, but also in the way her use of a simple and common duplicating device—carbon paper—calls to mind the most central elements of the art of drawing.

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