Arrojo 1994

Maria Teresa Rizzi made "Arrojo" as an etching, using the printing plate almost like a drawing, or perhaps even a kind of mapping. The color palette is subdued, almost like a faded memory. Look at the way the aquamarine underlayer interacts with the ochre outlines, creating depth and texture. See how the linear elements aren't just boundaries but have a life of their own, looping and connecting. It reminds me a little of Terry Winters, with that similar sensibility of organic forms meeting the geometry of thought. I'm interested in the tension here, between control and chance, especially the way the etching lines suggest a process of layering. Rizzi’s practice seems to embrace this idea, that art is not just about representation but about the record of its making. Like a conversation, a back and forth. And really, isn’t that what all good art should be?