Prusa’s art projects beauty and unease in equal measure, drawing us in and pushing us away, and inviting visceral responses that we can’t quite explain, because we may not possess the language to do so. This is art on an astral plane, as if channeled from somewhere else. (Boca Magazine art review, Beauty and Unease Coexist in Carol Prusa’s “Dark Light”, John Thomason, August 23, 2019)

“Dark Light” is an accomplished suite of recent works inspired by Prusa’s own life-changing experiences viewing total eclipses of the sun; other pieces pay tribute to pioneering women astronomers. Meticulously created by hand in the ancient silverpoint technique, each piece required hundreds, if not thousands, of hours to complete. Each work, then, must qualify as something of an obsession, and there certainly are worse obsessions than the eternal mysteries of the cosmos, which still beguile the best and the brightest. (Boca Magazine art review, Beauty and Unease Coexist in Carol Prusa’s “Dark Light”, John Thomason, August 23, 2019)

“When we get too distracted by the details in our daily lives, that is when we particularly need artists like Carol Prusa to expand our horizons into the solar system, into the deeper unknown of dark space,” said Irvin Lippman, the Executive Director of the Boca Raton Museum of Art. (Floss Magazine, NYC, August 2019)

“We talk a lot about STEAM [science, technology, engineering, arts and math] in our education. Prusa is the personification of that, she brings together art and technology in a really brilliant way.” (WLRN interview with Madeleine Fox, August 19, 2019)

For Irvin Lippman, executive director at the Florida museum where Prusa’s work is showing, the exhibition is “about being drawn into the work, much as we are drawn to witness the eclipse of the sun; and everything else for those few minutes becomes secondary.” (CNN online interview, August 2019, “Carol Prusa’s Mesmerizing Artworks Honor History’s Unsung Women Astronomers”)

Artists and scientists both share a concern for the edge between what’s known and not known. And scientists give different form to it, but we both work with something that’s formless. I love how scientists will model it in math, and math is so perfectly beautiful and has this great symmetry to it. But, you know, artists do the same thing. I think we’re so similar.” (quote from Carol Prusa in interview by Meghan Bartels on Space.com, “Working in Silver, Artist Conveys Mystery of Solar Eclipses,” August 2019)

“Carol Prusa is a visual alchemist whose work harnesses cosmic chaos and makes invisible forces materialize before our eyes,” writes Logan Royce Beitmen in the exhibition catalogue. (Cosmic Wonders by Silverpoint, New York Style Guide, August 2019)

For an eerie moment, while staring at Carol Prusa’s “Twilight (Persophone),” I wondered if somebody had slipped a little something under my tongue. (Boca Magazine art review, Beauty and Unease Coexist in Carol Prusa’s “Dark Light”, John Thomason, August 23, 2019)

“When we get too distracted by the details in our daily lives, that is when we particularly need artists like Carol Prusa to expand our horizons into the solar system, into the deeper unknown of dark space.” said Irvin Lippman, the Executive Director of the Boca Raton Museum of Art. (Art Daily.com, August 2019)

“It can be argued that science is a quest for absolute truth while art is a creative commitment to continued questioning. Prusa’s artwork embodies a fluid and seamless dialogue between the two. Drawn time and again to the governing theories and essential building blocks that structure our universe, Prusa diverges from a complete acceptance of quantifiable explanation. By incorporating an intuitive and somewhat uncontrolled process in her work, Prusa remains open to possibility and flux, stating that she “yearns to create a radical vision, taking into account the chaotic interactions of the formation of the universe, while critiquing claims of truth and fully embracing mystery.” Like the murky graphite washes that threaten to obscure her precise silverpoint line work just underneath, Prusa delights in the infinite shades of grey – preferring subtleties and possibilities over certainties and solutions.” – Amy Chaloupka, curator, Kohler Art Center catalog: The Drawing Season, 2012

“Prusa’s horrors are all sublime, tinged with melancholy and charged with an extreme attention to detail that makes them seem, somehow, to probe the heart of life’s mysteries and illuminate the essential fact of life: that it is abundant, simple, unpredictable and very beautiful.” Laura Stewart, Fine Arts Writer, The News-Journal, Sept. 3, 2006

“Carol Prusa creates a new vision of the powers of the universe in each artwork she makes. Inspired by cosmology and all of the natural sciences, Prusa creatively explores these practices, arriving at pictorially stunning re-interpretations of their theories.” – Kara Walker-Tome, The Art Economist Magazine, June 2011

“For the past five years that she has lived in South Florida, Carol Prusa has been quietly going about her business. And that business is turning out some of the area’s most distinctive art. Prusa specializes in imagery that looks as if it’s from some sort of alien anatomy textbook: pale, ethereal forms that suggest both plants and animals, rendered in a near-monochromatic palette that includes such ingredients as gesso, sulfur, graphite, and silver.” Broward-Palm Beach New Times article listing “best of various categories“ chosen as best artist, 2007.

“I would be remiss not to mention Thelxepeia (soothing words) by Carol Prusa, who remains one of my favorite South Florida artists. I’ve written many times about her delicate, otherworldly biomorphic forms,created with such media as silverpoint, graphite, and metal. She has a body of work as consistently articulated of any I can think of, here represented by an oval horizontal panel in which the imagery seems to be flowing into, or out of, a sort of central vortex.”-  Michael Mills, Fine Arts Writer, Broward New Times, April 26, 2007

“The show’s most highly nuanced works are Carol Prusa’s intricately symmetrical mandala drawings on round wood panels, whose pale, distressed-looking surfaces lend them the appearance of ancient artifacts. Their abstracted organic imagery suggests interwoven vines, mushrooms, clouds and internal organs.” Tom Patterson, Journal Columnist, June 17, 2007

“Carol Prusa’s drawings are silverpoint, graphite, and titanium white with acrylic binder on acrylic hemispheres and fiber optics. Got that? Her domed drawings are like ethereal veils or bell jars, finesse in pursuit of the fantastic and fanciful.”  –  Edgar Allen Beem, review of the exhibition “Drawn To Detail” at the DeCordova Museum, 2008

“Prusa’s repetitive sequences of organic patterns allude to mathematics, a field of study she views as the best means of exploring and articulating the universe’s ultimate adherence to definable principles. Yet Prusa does not necessarily deduce an ordered human destiny that abides by the rules of logic. She recognizes that beyond the bounds of reason lies mystery. With their sense of fading and distressed surfaces, her drawings are elegies of vulnerability and loss.” Review of “Shades of Grey”, Frist Museum, Nashville: News Staff posted June 20, 2008, www.clarksvilleonline.com

“Obsessive and delicate are exactly the right words for Prusa’s visual poetry. In the years I’ve been looking at and writing about her work, I have rarely run across an artist with such a remarkably consistent vision rendered in such an instantly recognizable style. It’s as if she has devoted her career to getting what she does so well into sharper and sharper focus.“ Michael Mills, Art Critic, Broward-Palm Beach New Times, July 24, 2008

“Circumnavigating Prusa’s mysterious firmament and speaking to the artist make is obvious she is on a wavelength uniquely her own. But her vision is so inviting and intriguing one can’t help but engage as a fellow traveler.“ Carlos Suarez de Jesus, Miami New Times, March 26-April 1, 2009

“Prusa’s celestial “Aporia” is a two-foot-wide acrylic hemisphere housing a matrix of fiber optics that cast twinkling star patterns on the gallery wall. The enchanting globe is covered in gorgeous, undulating abstract patterns created from a labor intensive process in which Prusa sandblasts her surfaces before adding gesso, silverpoint, and titanium-white pigment to convey a sense of a heavenly constellation.“ Review of exhibition “Nine Lives”, Carlos Suarez de Jesus, Art Writer, Miami New Times, Aug. 20, 2009

“Intricate, mesmerizing patterns are drawn on acrylic three-dimensional hemispheres dotted with fiber optic lighting details. While the fiber optics may seem incongruous with the simplicity of silverpoint, the two exist harmoniously. One might suspect that the silverpoint, the two exist harmoniously. One might suspect that the lights would overwhelm the complex web of delicate designs, but they do not. Rather than detract from the drawings, the lights heighten their luminosity, reappointing and readjusting focus by literally shedding new light upon their surface. Prusa has redefined both ancient and contemporary traditions, quieting the digital and enabling the silverpoint technique to compound its visual intensity.“ ArtsEditor: features: Intricate Enigma 1/30/10,, http://www.artseditor.com/html/features/0110_silverpoint.shtml





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