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	<title>Drawn/Taped/Burned: Abstraction on Paper &#187; Elena del Rivero</title>
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		<title>Elena del Rivero on Anne Chu</title>
		<link>https://zgj.181.mywebsitetransfer.com/elena-del-rivero-on-anne-chu/</link>
		<comments>https://zgj.181.mywebsitetransfer.com/elena-del-rivero-on-anne-chu/#comments</comments>
		<pubDate>Sun, 28 Feb 2010 15:18:02 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Anne Chu]]></category>
		<category><![CDATA[Elena del Rivero]]></category>

		<guid isPermaLink="false">http://drawntapedburned.aboutdrawing.org/?p=900</guid>
		<description><![CDATA[<img src="http://drawntapedburned.aboutdrawing.org/wp-content/uploads/2010/10/2374_KAT.jpg" alt="" title="Anne Chu" width="325" height="276.4" class="alignright wp-image-1776" />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.
<br />
<a href="http://drawntapedburned.aboutdrawing.org/?p=900">Look closer...</a>]]></description>
				<content:encoded><![CDATA[<p><a href="http://zgj.181.mywebsitetransfer.com/?attachment_id=1776" rel="attachment wp-att-1776"><img src="http://zgj.181.mywebsitetransfer.com/wp-content/uploads/2010/10/2374_KAT.jpg" alt="" title="Anne Chu" width="325" height="276.4" class="alignright wp-image-1776" /></a>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.</p>
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		<slash:comments>1</slash:comments>
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		<title>Teo González on Elena del Rivero</title>
		<link>https://zgj.181.mywebsitetransfer.com/teo-gonzalez-on-elena-del-rivero/</link>
		<comments>https://zgj.181.mywebsitetransfer.com/teo-gonzalez-on-elena-del-rivero/#comments</comments>
		<pubDate>Wed, 24 Feb 2010 15:22:03 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Elena del Rivero]]></category>
		<category><![CDATA[Teo González]]></category>

		<guid isPermaLink="false">http://drawntapedburned.aboutdrawing.org/?p=909</guid>
		<description><![CDATA[<img src="http://drawntapedburned.aboutdrawing.org/wp-content/uploads/2010/10/2743_Thumb.jpg" alt="" title="Elena del Rivero" width="325" height="431.9" class="alignright wp-image-798" />
<br /></br><br /></br>In <em>Letter to Wynn Kramarsky</em>, 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.
<br />
<a href="http://drawntapedburned.aboutdrawing.org/?p=909">Read more...</a>]]></description>
				<content:encoded><![CDATA[<p><a href="http://zgj.181.mywebsitetransfer.com/?attachment_id=798" rel="attachment wp-att-798"><img src="http://zgj.181.mywebsitetransfer.com/wp-content/uploads/2010/10/2743_Thumb.jpg" alt="" title="Elena del Rivero" width="325" height="431.9" class="alignright wp-image-798" /></a>In <em>Letter to Wynn Kramarsky</em>, Elena del Rivero entices the viewer &#8212; or reader, depending on one&#8217;s reference point &#8212; 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.</p>
<p>One’s first instinct is to scratch away the lines as if the drawing were a lottery ticket, unearthing the words and revealing the reason they were covered with such painstaking intimacy. The covered text is only manifested in the textured lines of gold on the page, which through alchemical means transcend the letters and turn their message into something eternal and forever shining.</p>
<p>Maybe there is nothing beneath these layers of gold, and <em>Letter to Wynn Kramarsky</em> is a joke that only the sender and the receiver will understand. Or perhaps all one needs to do is read between the lines for all to be revealed. Either way, this enigmatic work leaves us wanting more, because we<br />
will never know the hidden message that we seek.<br />
Perhaps that is the point&#8230;</p>
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		<slash:comments>1</slash:comments>
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		<item>
		<title>Elena del Rivero on John Fraser</title>
		<link>https://zgj.181.mywebsitetransfer.com/elena-del-rivero-on-john-fraser/</link>
		<comments>https://zgj.181.mywebsitetransfer.com/elena-del-rivero-on-john-fraser/#comments</comments>
		<pubDate>Fri, 19 Feb 2010 15:25:55 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Elena del Rivero]]></category>
		<category><![CDATA[John Fraser]]></category>

		<guid isPermaLink="false">http://drawntapedburned.aboutdrawing.org/?p=921</guid>
		<description><![CDATA[<img src="http://drawntapedburned.aboutdrawing.org/wp-content/uploads/2010/10/4366_Thumb.jpg" alt="" title="John Fraser" width="325" height="328.8" class="alignright wp-image-829" />
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.
<br />
<a href="http://drawntapedburned.aboutdrawing.org/?p=921">Read more...</a>]]></description>
				<content:encoded><![CDATA[<p><a href="http://zgj.181.mywebsitetransfer.com/?attachment_id=829" rel="attachment wp-att-829"><img src="http://zgj.181.mywebsitetransfer.com/wp-content/uploads/2010/10/4366_Thumb.jpg" alt="" title="John Fraser" width="325" height="328.8" class="alignright wp-image-829" /></a>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. </p>
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		<title>Elena del Rivero on Allyson Strafella</title>
		<link>https://zgj.181.mywebsitetransfer.com/elena-del-rivero-on-allyson-strafella/</link>
		<comments>https://zgj.181.mywebsitetransfer.com/elena-del-rivero-on-allyson-strafella/#comments</comments>
		<pubDate>Wed, 13 Jan 2010 16:00:14 +0000</pubDate>
		<dc:creator><![CDATA[Rachel Nackman]]></dc:creator>
				<category><![CDATA[Allyson Strafella]]></category>
		<category><![CDATA[Elena del Rivero]]></category>

		<guid isPermaLink="false">http://drawntapedburned.aboutdrawing.org/?p=999</guid>
		<description><![CDATA[<img src="http://drawntapedburned.aboutdrawing.org/wp-content/uploads/2010/10/4080_Thumb.jpg" alt="" title="Allyson Strafella" width="325" height="227.8" class="alignright wp-image-814" />
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.
<br />
<a href="http://drawntapedburned.aboutdrawing.org/?p=999">Read more...</a>]]></description>
				<content:encoded><![CDATA[<p><a href="http://zgj.181.mywebsitetransfer.com/?attachment_id=814" rel="attachment wp-att-814"><img src="http://zgj.181.mywebsitetransfer.com/wp-content/uploads/2010/10/4080_Thumb.jpg" alt="" title="Allyson Strafella" width="325" height="227.8" class="alignright wp-image-814" /></a>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. Throughout human history—from the ancient times of the Altamira caves, through the Renaissance, to the present—carbon has been a primary tool for the creation of images and text. Using a typewriter, generally the means for creating duplicates with carbon paper, Strafella instead wounds the paper, allowing the carbon to bleed forth in images loaded with timeless<br />
visual meaning.</p>
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