In this essay, the journalist Alberto Anzola assesses the work of Elsa Gramcko. He mentions some of the elements used by the Venezuelan visual artist: scrap metal, storage batteries and other rusty metal. Anzola makes the connection with Renaissance painters who, in spite of being figurative artists, retained a certain level of abstraction. He points out that, with her leaning toward alchemy, Gramcko attempts to reveal “the occult.” Praising her creative potential, he takes the concept of “smudge” and describes it as the most perfect of forms. The journalist uses a quotation from the Mexican writer Carlos Fuentes in the article.

This essay by Alberto Anzola on the work of the Venezuelan visual artist Elsa Gramcko (1925–94) is particularly memorable because of its lyrical content. The writer freely avails himself of literary resources, establishing metaphorical links between the artist’s work and “magic,” “alchemy” and “witchcraft.” Gramcko’s most important theme is related to the transmutation and creation of the materials as well as “form,” a constant throughout her life as an artist. That quality of her work led many art writers to dub her an “alchemist” (including Elizabeth Schön, GAN, 1997). Anzola applies highly philosophical and even theological concepts to the artist’s work. In addition, he assigns semantic meanings to some of the objects used in her creations (cisterns, walls, locks and workshops). Such a lyrical and philosophical focus on the work is very suitable for this artist. In fact, her work was always influenced by philosophical and psychological concepts and ideas, not just in the midst of her creative process, but in the titles of works as well. To the writer, Gramcko is the heir of medieval artists; he even comes to believe that her work reinterprets the altarpieces of that era, replacing saints by objects (often discarded ones), that will arise from their “ashes” to assume new meanings. Anzola frees the artist from rigid visual art classifications, avoiding any rigid categorization it in terms of the formal sphere, nor does he see it as Informalism or figurative art; neither can it be regarded as abstract art, at all. To the writer, Gramcko manages to elude these labels in order to give free rein to her “magic.”

[For other critical essays and interviews with the artist, see the ICAA digital archive: an essay by José Gómez Sicre “Elsa Gramcko of Venezuela” (doc. no. 1222685); a biographical sketch by Oswaldo Trejo “Elsa Gramcko” (doc. no. 1153620); an article by Roberto Guevara “Abstractos inéditos de Elsa Gramcko” (doc. no. 1163749); one by Juan Calzadilla “Elsa Gramcko: la atracción de las texturas” (doc. no. 1153589); a critical sketch by Clara Diament Sujo “Elsa Gramcko”, (doc. no. 1153604); “Entrevista con Elsa Gramcko” published in 1976 (doc. no. 1152673); a critical piece by Teresa Alvarenga “Elsa Gramcko por ahora el silencio” (doc. no. 1153652); and one by Juan Carlos López Quintero “Elsa Gramcko una alquimista de nuestro tiempo” (doc. no. 1152657).]