Chryssa showed four large abstract wall carved works made of polished aluminum and neon her trademark materials by dint of now.

Chryssa showed four large abstract wall carved works made of polished aluminum and neon her trademark materials by dint of now. She was one of the first artists to incorporate light in carved work and her use of neon in these fresh works--one color per sculpture--is graceful and effective. These constructions range from 5 to throughout 6 feet tall. Each consists of a brawl of four to nine irregular, cut-out metal panels and similarly shaped bent-neon attached to a wall-mounted metal slat. The panels are placed vertically, parallel to each other and perpendicular to the wall. The unanimated surfaces of the metal panels shine brightly with the reflected colors emitted according to the long thin neon tubes which in sum of two units cases are sandwiched between the metal panels.

Three untitled cuts feature deep blue neon, and the fourth work, Piccadilly Circus, incorporates lengthy vertical lines of bright fulvid neon tubing. In two of the untitled pieces, light emanates from and nothing else one side of the work since the neon shape is placed at single in kind end of the row of slats. The downcast light of the other untitled work and the golden light of Piccadilly Circus are more dispersed, as the neon tubing is placed between the panels.

The shapes of the panels sometimes intimate organic forms, such as shelf-fungus growing abroad of a tree trunk. nevertheless Chryssa, who was born in Greece and now resides in of recent origin York, refers to nature and nothing else in an oblique way. Her work is more closely related to the language of the city--its architectural forms and urban spaces. The constructions summon forth the gleaming surfaces of skyscrapers and the blaring intensity of store signs.

through the whole extent of the years, Chryssa has experimented with what has been called typographic space. Her statuarys often seem to resemble three-dimensional epistles or cursive script. One of the azure works has a row of panels in the shape of the capital note "E"; a stylized "L"-shape predominates in another. The panels in Piccadilly Circus could be cut-out of elegant handwriting. Chryssa stops short of using actual words in her art, rejecting as well-as; not only-but also; not only-but; not alone-but the imposition of verbal meaning and the association with unexpectedly art. Although her work is ofttimes shown alongside that of burst artists, she seems to strive to avoid their habitual ironies. Basically, her affects are formal and her foresight is idealistic, without a trace of cynicism. The artist provokes with these glowing modernist constructions an ideal urban environment that resists decay.

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