“She began drawing anatomical forms, fine, perhaps sublimated, but within the meaning of reality. Then he was transfiguring his characters until new Prometheans or new goddesses of the plastic Pantheon acquired the other dimension: that of art, which is a summary of contained emotions, juxtaposed to others, superimposed on themselves in incisive disquisitions and in discourses on the supremacy of being. human.”
– Alfonso de Neuvillate
“Emilia’s fundamental law is ‘not one more stroke’ and she fulfills it in such a way… because nothing in the work is gratuitous and everything becomes concrete in a precise idea of spaces in movement.”
– Alberto Híjar
“The easy disposition for body drawing is evident in Emilia’s work. It gives rise to the contradiction between lines drawn with mechanical instruments in order to achieve a geometrized space and the lines and intonations that appear as bodies, sometimes fragmented, others foreshortened, others with boxes that indicate some part.”
– Alberto Híjar
“Emilia’s drawings offer two possibilities of reading: the one that occurs when contemplating these drawings as a total surface, without looking at any particular point. The simultaneity of guiding lines that point to a space that is beyond the surface of the painting, inhibit the vision of a stable, homogeneous and logical plane…
The second possibility of reading would be opposite and complementary: dwelling minutely on every detail, every rupture and textural variant.”
– Edward Cohen
“… she resorts to foreshortening only as a starting point, while she uses the boxes as if she were making conceptual art when in reality, she is making a rhythm of sensations.”
– Alberto Hijar
“It manages to satisfy the premises of art, in the sense of renewing it and not simply making it a copy of nature, but the other way around, moving away from any similarity that the conceived work could have with photography…”
– Alfonso de Neuvillate
