In the art of Ana Eckell there is a compelling conjunction of the deeply serious and ironic with a wit and sophistication that often leaves us both perplexed and gratified. The current work of this artist embodies those characteristics that have been present in her paintings and graphics since the star of her career. Eckell creates a world of figures that appear to be derived from the sources in both high and low art. Graffitti, cartoons, animation have all been in some sense for the visual simulation of this artist, yet there are many other layers in the complexities that are suggested by the paintings and drawing of Ana Eckell.
In the permanent passing of conscience from the image, drawing has invaded the present time not only as a representation but, first and foremost, as writing. If, in the past, it complied with a function equivalent to the noun in the language of words –to represent something is to name it- since a decade ago, as a characteristic of this new century, it refers us increasingly to the action itself of drawing. That is to say, it becomes a verb. It alludes to abstract nouns or, globally, it suggests concrete names but as someone formulating a phrase in which abstract concepts interrelate with allusions to reality. This rebirth of drawing now occupies a privileged place within the conglomerate called visual arts. Since this is a new event, those who have been formulating this new function of drawing from the beginning of this century, have the merit of being the pioneers and Elena Nieves is among them. But, also, presenting drawing in this way she states it as visual poetry by making her own poetry.