 |
Luigi Foglietti, Il
Messaggero, 2000
Mario Padovan,
Momento Sera, 1994
Rossella Vasta,
Corriere dell'Umbria, 1991
Enzo
Bilardello, Corriere della Sera, 1986
Gian Luigi Rondi,
Il Tempo, 1984
Vito Apuleo, Il
Messaggero, 1984
Filiberto Menna,
Paese Sera, 1984
Ignoto, L'Unita',
1983
Sebastiano
Grasso, Corriere della Sera, 1980
John Hart, Daily
American Rome, 1976
Sandra Orienti, Il Popolo,
1976
Lino Lazzari, L'Eco
di Bergamo, 1976
Lorenza Trucchi,
Momento Sera, 1975
Irene Fleming,
Daily American, 1975
Arturo Bovi, Roma,
1975
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| DAILY
AMERICAN |
| "...Aquatint-etchings
prepared and printed by the same hand on a second-hand press
formerly used by Afro, might lead you to suspect that artist
quality can be transmitted from one artist to another through
use of the same press alone. This attractive young artist from
Washington, D.C., is already strides ahead of most of her
contemporaries and many of her elders, but the precocious talent
is entirely her own. Technical control of line shading, tonal
range, and contrast of solid form with illusion of contour and
depth gives her compositions an uncommon richness and feeling of
reality, abstract as they are. She is also a master at coming up
with exactly the right title for each one: never pretentious,
never captioning, never trying to pull some artsy wool gathering
over your eyes. You see her reason at once, in some cases even
before you read what she says. Along with her range of
technique, Fraleigh's variations in mood are unusual, too. She
can be dramatic as in The Tempest, light-hearted as in
The Circus, or simply matter-of-fact as in Three
Moments, a triple-plate variation on one page. Her
inventiveness shows in textural effects created with textiles
etched into the plate, and slatted compositions, like
Abstract Black and White Landscape, printed on two sheets
with three slices of zinc. When she adds a field of red the
graphic design on the red contrasts with the drawing on the
black so vividly that it looks like a superimposed
collage..." |
| JOHN
HART |
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