Sotiris Messinis

Sotiris Messinis, Venice, November, 1964

In comparison with the works of 1963-64, in the recent production of Elena Zong it is shown a tendency to obviously regain the object, the physical reality.

Starting from a detailed analysis of the atmospheric facts that had led her to a seemingly complete abstraction and with a greater stylistic tension, Elena Zong is now able to cultivate with more grace and comfort the ghosts of her memory.

In a delicate proportions and analyzes game, according to the function of the memories that any naturalistic element reveals, from an indefinite space are emerging visions and objects that had been stopped by her shrillness transformed here and forth into symbols.

And this is it that ultimately converses in a form of autonomy in her work, so full of her personal confessions.