Mirta Meltzer Visual Arist

With the consciousness of an aerial being Mirta Meltzer begets the serene physics and the mysticism of expansion achieved with a care that preserves everything that might pull her away from a blessed ethereal state.

…The planes' translucence create an aerial context and pervade the figurative symbols the artist has chosen for her visual field. We can discern Mirta Meltzer's feeling in the luminous air and the light, this is, the synthesis between lightness and clarity, a shedding of weight and a riddance of the flesh's darkness.

By Rosa Faccaro

Member of the International Art Critic Association / 1984

…Meltzer has turned out objects and etchings that are spontaneous, beautiful and moving. The final shapes of which are dictated by their own textural or volumetric traits rather than by the artist's whim. But let's give credit where it's due: in less talented hands they would just be pieces of wood, iron, leaves, feathers or sea shells just put together in black, glass topped boxes rather than delicate assemblages of the Mar y Bosque series. She obtains equally magic results with even scarcer means in other series generally presented in triptychs, suspended on black backgrounds… It is dramatic, very simple and it clearly shows the importance of the chosen medium (home made paper), the eloquence of whose texture and shape already has its own visual language and doesn't demand nor need much else on its surface. The creator's talent lies on what she leaves out rather than on what she includes. Not an easy choice, but worth the try, for when there's talent, less is more.

Alfredo Cernadas Quesada

Art critic of Buenos Aires Herald Newspaper /1992

Mirta Meltzer's works are a territory of wonders: they do not carry ideas, sketches or prior visions, but rather they behave like recipients where her images will grow as a result of a close dialogue with the material. Meltzer's creations spring up from an elaborate game in which the exercise of her flowing attention rescues or discards the elements that will finally be components in her vision. A sign, a texture, something added in the fashion of collage, all will be elements that, in a secret ceremony, almost a ritual, will be displayed on the surface to introduce the observer to a hermetic world view and feeling that, if sometimes is dramatic, most of the time is a celebration.

By Raul Santana

Art critic and Director of the Museum of Modern Art / 1992

This is how contemporary art becomes a fascinating adventure; its expressive possibilities are infinite and related to the artist's creative resources. The work of art turns into an action which does not consist in "pulling to find" but in "remaining to develop… She chose diverse techniques for the different images. She could do a series of ten works which started from mere dispossession until causing the greatest visual contemplation…What does this inner call to broaden the creative horizon respond to? A need made her present a series of boxes which enabled her to keep in custody certain elements not destined for immediate use. For most people, the things remain there and do not need to be looked by the others, They are simply kept. But for the artist who presents her boxes, they communicate a hidden and mysterious inner feeling of a past time which is revealed as present…. Nothing is as it was before; the tension created by the microclimate gives the assembled ancient elements the wonder of what is new. She feels faithful only to herself when trying to build a language based in the essence of silence.

Julio Sapollnik

Art Critic and Director of the National Gallery, Buenos Aires, Argentina / 1993