It is not uncommon for Argentine artists to earn awards abroad. So it should come as no Surprise to learn that Delia Solari who had ·been chosen as our representative in the Fine Arts Award in the New York ArtExpo, should have won the prize. After all, Ms. Solari as a long and distinguished career to back her up.
The surprise comes for the works that moved the jury  to give the award to Hacia la Luz (Towards Light). lt is a polypitch formed by six large, shimmering paintings made in the memory of the 9/11tragedy. In them Solari shows her mastery of the neo geometric figurations that has earned her praise but in her country and abroad. Where she has won important prizes in Europe, Asia, and the Americas, but the present work are tingued with a yearning spirituality that is not typical of her previous, much more dramatic and assertive works. The same feeling radicates from an accompanying sculpture, a tower of steel crowned with a silvery orb that seems a beacon to light the way to redemption.
By Alfredo Cernadas
FOR THE HERALD

The notion of ascent to a higher spiritual level is one of the most enduring and entrenched human dreams, a fantasy that not only has created an intricate mesh of relationships and associations pertinent to all times and cultures, but also enlightened our concerns and thoughts about the ultimate meaning of life. Delia Solari’s works recreate the old ideal of perfection through a powerful and convincing aesthetic language. Her installations consist of abstract geometrical figures that resolve around the symmetry and balance we long for, and result in lucid compositions illuminated by sparkling colors that codify mankind’s latent ambivalent nature, often oscillating between the consternation of war and terrorism, and the hope for peace and harmony.
The skyscrapers and the climbing impulse, as well as the symbolic sculpture, merge in our minds with the aura arising from ancient pyramids, portals and obelisks, mysterious temples surrounded by a subtle and sealed cosmic calling. Deli Solari’s work has been nominated for the 2007 art TV Awards.       
Daniel Pérez
“The Golden Book of Argentine Art”
Buenos Aires, november 2007

Esthetic statements
Undoubtedly, Delia Solari is in the vanguard of abstract geometric art. In this globalized world, where banality proliferates, she demonstrates through her paintings the importance of demarcations in art.
Plurality and color, plastic structure, tangential lines that come together and cut across her vibrant and joyful works, pay homage to the imminent explosion of creation.
Instead of a passing by conformity, her reinvigorated spirit fuses with a presence that attempts to go beyond.
This prolongation, this vigilance, finds her, has already found her, in her emotional register that helps shake and liberate the deepest layers of humanity.
Recently, Delia Solari has concretized six paintings, "Towards light", and an impressive sculpture “Towards Harmony” in stainless steel, made for New York City’s Javits Convention Center.
Gyula-Kosice
Buenos Aires, June 2007

“What a richness and variety in the subjects tackled! From the most clever combinations of geometric figures until relations between music and painting, from the light troubles until the resonance and harmony of colors, since the tenderness and the sensitive aspect of the images till the vision of a cosmic movement, everything has been treated with intelligence, with strength and fervour in the dialog of Delia Solari with the universe.”
IONEL JIANOU
Honorary Professor of History of Art
International Association of Art Critics
Society of People of Letters, Writers’ Union
French Pen Club International
Rumanian-American Arts and Sciences Academy
Brancusi International Company
Paris-France-February 1990

“Architecture of forms in exact volumes. Delia Solari demonstrates to be a qualified colorist, who knows that beautifying the colours intensely, can become a bait: for her work method she does not respond to the need of respecting the severity of the structures. Treated in tonal gamuts, colours seem to melt, amalgamate better and combine in a clear harmony of light, as being sieved, emerging from the interior of the painting itself. Thus modulated, thus unified and thanks to wise transparencies, colours are synonymous of perfect chords while the flooding light adds worth to them. Thus, the work of Delia Solari reaches plenitude, almost mystic serenity, like the one that flows from the vitraux of the cathedrals and transport us beyond the overwhelming pictorial magic.”
ANDRE VERDET
Art Critic. Saint Paul de Vence. France.
April, 1987

"…Argentine painter, Delia Solari. Her paintings at the O.E.A abstract the reality of faint impressions of light and shadows learned from the great classics, but her sense of linearity and geometry situates her as a follower of Cubism. Solari contributes with subtlety of colour, since she demonstrates to follow a careful study of the chromatic palette, which is based on a great richness of colours and nuances. Her work reflects an analytical and cautious mind, it feels like hiding a brightness that, being latent and throbbing behind the elements, become evident. She creates pressure and structure in the canvas, integrating the composition of colours in a balance of exquisite joy.”
LATINO NEWSPAPER INC. P.O.
BOX 43824. Washington D.C.
September 4, 1987

“Supported by a lucid recognition of the fundaments in which contemporary painting is based - she quotes among her favorites Rembrandt, Leonardo Da Vinci, Turner, Monet, Picasso, Braque and Kandinsky -, this painter resolves her images in the two dimensional reality of art space avoiding transgression of the strict limits in her abstract proposal. It is a refined code of lineal rhythms where the lines and the curves are harmonically structured, integrating a rich gamut of tones, among which the yellows, ochres, blues and greens predominate. The extended game of lineal rhythms, sustain and integrate the variety of tonal timbres. Those are wisely calibrated and unified by the transparencies and by a sense of the light that reminds the gothic vitraux, shaping images that can be defined in two words: musicality and energy...”
OSVALDO SEIGERMAN
Actualidad en el Arte Magazine, 1988

“Exists, besides, a mysticism of silence. An overwhelming poetry. It is important to notice that the seemingly coldness that moves the theory, finds in the painter the way out towards her own vitality of light. By means of a brush that is soft but not honeyed, she networks rich zones, generally with a prevalence of yellow that attenuates or pours out as a kaleidoscope. It makes use of the purely formal-tactile to discover the fantasy, with a clear image of the planes that, decanted by their technical relation, start shaping the theme.
Delicate performance that connects with its usefulness behind the scenes of scenography knowing how to remain, expectantly, in the limiting shape, those unseen contours of lights, shadows and ambiguous colours. This harmony is absolutely reasoning, isn’t leaving anything unsolved. Moreover, it is stimulating her vivid imagination.
Geometry meets in Mrs. Delia Solari its definite aspects of how she can adjust herself to its structure with freedom, without any audacity and with a total responsible criterion on the pictorial work”
EDUARDO VERNAZZA
Montevideo, Sunday, May 22nd of 1983
“El Día” Newspaper

“While increasing her impermeability to formal conviction, Delia Solari discovers that life, real illuminated life, is the one that nests in every moment of the artist, and thus emerges her abstractionist stage, strongly active in her recent production.
This is the result of the comprehension that art, in all its manifestations, must be a witness of its time and, consequently time demands a rupture with the past. Thereby, Delia Solari dives in the revision of her plastic language to build a new one, rejecting the easiness, avoiding with courage alien modalities, deepening in research. From all of these, a new artist’s palette is born.
This palette is a universe of light and colour forms, throughout all the artist’s work, the cornerstone of her production; but presently this light and this coloring is translated into a new language, a new pictorial style which, neither despising nor moving away too much from realism, freely breaks her obedience to it and incorporates it in a personal way to abstraction, and this is it, nowadays, the crucible for the forging of her all work.”
W.E. LAROCHE
“El Día” Newspaper
Montevideo-Uruguay
1985

“The Embassy Gallery, run by Gina García, wisely continues presenting exhibitions of important Latin American painters.
The work of the argentine artist Delia Solari was a refreshing chapter, some weeks ago; a meritorious example associating the purely figurative with the architectural elements, playing with visages, landscapes and still-lives in an original and skillful composition. However, her major accomplishment is the particular use of light and colour, that confers to the work a peculiar brightness and a character that is joyful and, at the same time, decorative.”
LUIS FELIPE MARSANS
“Las Américas” Newspaper
Miami-Florida
1990

“For an artist, to write a book about the moving and motivating reasons of her own work, is an act of reflection and matureness. It means to turn that universe of reasons leading to creation into a language different from the one of her own expressiveness. In this case, Delia Solari not only reveals her reflexive attitude facing the artistic work from which she is the protagonist, but she also makes known her vision of art in general, inserted in the social reality and in a world of creating values.
As being herself a representative of Geometric Abstraction, she also deepens in this aesthetic line. Concepts about structure, colour, creativity, rationality and sensitivity in painting, as well as the bonds between herself and music, comprise stages in the reading of this book, faultless introduced by the leading publisher Ediciones Gaglianone.”
FERMÍN FEVRE
Clarín Newspaper
1989

“With the development of her Aesthetic Statements, Delia Solari has produced a valuable treatise, both didactic and testimonial, that expresses the process of an experience particularly difficult and complex: the implicit or explicit protagonism of geometry in the artistic creation and in the statement of a visual-plastic reality. The artist exposes, analyzes from the very beginnings what she calls ‘a personal theory of the artistic fact’ based in her own experience. This accounts for the unquestionable value of her theory; the significance of its contribution as a system, as a method to meet the need to reveal a reality governed by thinking, as well as by reasoning, intelligence and rationality, thus enriching, with this useful and beautiful book, the whole world of art.”
OSIRIS CHIÉRICO
from the Preface of ‘Aesthetic Statements’
1988

“…Delia Solari releases her creative imagination to other chromatic and luminous proposals. A lyric sight of architectonic intensity, combined with a lineal dynamics and a bright weave texture…in a more liberal language, far from strict formal accuracies. There is a positive change in her work that leads to create with matter an exploration of strong visual and tactile impact. The light, previously screened and veiled to transparencies, emerges today from the core of the coloured material and the thickness of paint, thereby transform itself in a reflecting object of endless expansion.
Space is dynamic, regulated by colour and traversed by a lineal force that plays to support a floating and multidimensional structure. This pictorial period has “a vision of a cosmic movement” quoting Ionel Jianou, her art critic and prologue writer. It is in the need of order and equilibrium where the artist perceives and projects her inner impulse: “Vitality, fervour of the creative function of light”, manifests the art critic. In this exhibition, we may assert that it is deeply felt the artist’s clear sense of being subject to the rules designed by her spontaneous creative capacity. To the highest and unusual levels, this outstanding creative capacity is exalted now, within the frame of her whole artistic production”
ROSA FACCARO
Clarín Newspaper
1991




“A remarkable change is noticed in the evolutionary process accomplished by Delia Solari, whose paintings are being exhibited at Soudan Gallery, in 964, Arenales Street, Buenos Aires. The artist keeps the geometric structure, not the closed forms, which mark the completion of its contour. A cautious usage of color helped to release the design and to produce canvas full of sensitivity. She keeps her style of geometric non figurative: now understood as an explicit and implicit system of composition, interrelating the different parts and dynamically interpenetrating depth and shape.”
ALDO GALLI
La Nación Newspaper
1991



“From a geometric painting, where some works might have only been studies about color and light-effects, Solari has reached, in this moment of her career, more loosening proposals. We rejoice her evident achievements. The painter asserts a geometric and theoretic flowing, with a huge and interesting technical information, where the ‘informal’ ma be found as well. Her style will make Solari find what she still intends to transmit; we are fully convinced of this. She should do it.”
ALBINO DIEGUEZ
La Prensa Newspaper
1991

“What D. Solari has essentially been working in, is what constitutes the greatest challenge for every plastic artist: light. And she was able to achieve this turning it, gradually, into the essence of her paintings; as well as to investigate light even in its metaphysical implications. She embraces a style of absolute deprival of expressive means, conferring her paintings more and more eloquence. It is as if we were invoking spiritualization, naturally dazzling and emerging as a capital, blessed and attractive exhibition. Going slowly over the exposed work we may also notice, as a consequence of this presence of disemboweled and naked light, the way how the painter has been rendering more importance to colours. Mainly in her last compositions –very well balanced as far as the paintings are concerned–she adheres to captivating colors, as if burning from their own depths.”
CESAR MAGRINI
El Cronista Comercial Newspaper
1990

“Delia Solari: At Velázquez, Maipú 932, this exhibition of still-life flowers, fruits, portraits, figures and landscapes (in oil) by Delia Solari is realized in luminous transparencies of light. Especially successful is a large painting “En Familia”, where she has coordinated a group of figures abstractly, using lemon yellows, reds, greens and browns. The triangle of light bathing the central figures is a prism of golds and light greens radiating upon and diluting the figures to left and right. The painting is pure poetry and probably the loveliest in the show. It was realized with much love, thought and effort. Delia has a delicate flowing feeling in the flowers and landscapes. Her use of corats and browns is exquisite. In all of her works there is sensation of deep inner peace and happiness.”
THELIA CONRAD BEHAR
Buenos Aires Herald Newspaper
1984

“There are several exhibitions worth seeing in the Socorro Church area. Amongst them we have Delia Solari’s. I hadn’t care too much about this artist’s previous output (which doesn’t mean I brand it as bad. I just failed to be moved by it, to get the message) but in her present one woman show (Soudan, 960 Arenales Street) she has come up with a series of interesting, dynamic and vigorously painted works. She cleverly combines straight lines, angles, planes and transparencies with which she creates unreal skyscraper townscapes, which could also be taken for stained glass windows for a church in space. The colours are vivid but, for this writer at least, she overdose the use of browns, which seem misplaced in the kind of design she makes.”
ALFREDO CERNADAS QUESADA
Buenos Aires Herald Newspaper
1991

“Delia Solari denominates her own style in painting ‘Sensitive Plannimetrical Structuralism’, being its distinctive quality a formal and well structured creation. A creation represented by organized arrangements of geometric planes, harmonizing with emotional and sensitive treatment of colour. Yellows, acid greens, blues and violets are masterly displayed in her spatial games and dynamic structures, without any trace of rigid and cold lines of the Absolute Geometry. Her passion for music led her to elaborate a symbolism representing some aspects of music, which proves to be a challenge with great variety of assumptions.
At the inauguration of the Soudan Gallery Painting Exhibition –closing on May 14th– she simultaneously presented her book “Aesthetic Statements” where she sets up a full description of her fundamental inner process as well as her aesthetic aims. Magnificently edited by Gaglianone Art Publishing and prefaced by Osiris Chierico, it is a real treaty of geometric abstraction based on the conclusions and principles Delia Solari has attained and applied throughout her creative work. The different items are richly illustrated, enhancing the potentially didactic nature of the book.”
LAURA FEINSILBER
Ámbito Financiero Newspaper
1989

“All of them may have led her to this outstanding creation:
A singular experience beyond what can be demonstrated with the five physical senses, but appealing to them as well.
? Her continuous quest, shown by gradual and improving changes.
? Her adherence to form, not vague but subtly suggested instead of strictly expressed.
And colour –a directness of utterance as characteristic of herself– becomes an element of sound quality.
Colour becomes a sense that flows over substance in a slight but accurate visual poetry: very sweet but not fragile at all, and wide open to light, air, even to so-called clarity of shadow. All of these bring about the creation of paintings which deeply represent a frame of mind, applying a boundless and universal language– on certain occasions even definitely metaphysical.”
CÉSAR MAGRINI
El Cronista Comercial Newspaper
1989

Delia Solari and tbe Music of the Living Ligbt
by Morgan Powell

The geometric rationality of theory serves a quest for universal meaning cornmunicated on the canvas primarily by Solari's dialogue with this life-giving light, a light that seems to pour out of the painting, illuminating it with the multifaceted and multicolored brilliance of a child's kaleidoscope. In this tension between a childlike fascination with an infinite variation of fonn and color and the strict control of a geometrically, almost mathematically conceived composition Solari seeks her theme, the unity of a rational and a sensual reality.
Delia Solari elevated this tension to the order of a method as early as 1989, with the publication of Aesthetic Statements (Ediciones Gaglianone), her own manifesto on the art of painting. There she acknowledges her full debt to the tradition of Mondrian, Kandinski and Klee, and offers her interpretation of the dizzying progression of twentieth-century artistic movements from which she sees her work emerging: a drastic oscillation between two poles as the artist in his new creative
ffeedom explores the extremes of the sensualsubjective and the geometric-objective. It is characteristic of Solari's highly intellectual approach that she devises a ponderous tenninology to express these opposed directions in her own work, dividing it into "sensitive" and "rational planimetric structuralism." But the book shows Solari to be an articulate and an expressive writer, an artist fully capable of putting her pictorial work, its foundations as well as its aspirations, into words.
All the more eloquent, then, the refusal of language, whether verbal or figural, that her work represents. There is undeniable commitment and conviction shimmering ffom behind the translucent planes of her compositions, an urgent desire to comunícate an inner experience that is perhaps the most immediately arresting feature of her work; it is also the feature that puts her in a class apart from contemporaries and predecessors of the constructivist and other fonnally geometric schools of abstract painting.
Solari's oeuvre documents a lifelong pursuit of the idea that essentially human and intrinsically personal statements can be made with only line, color and light-much as a composer evokes an entire spectrum of human emotions and even narrative progressions through sound, rhythm and acoustic volume alone. The analogy with music is by no means the invention of this critic, nor is it merely a reflection of Solari's avowed affection for the thought and work of Vasili Kandinski – whom she quotes when she writes, "Music has always been the art which has used its own means to express the artist' s internal life and to create a life of its own, and not to represent or reproduce natural phenomena." Music is rather a guiding principIe and foundational experience of this artist's life and art: first given a musical education, it was only as an adult and a mother than Solari found her artistic vocation in painting. In her studio she works to the continuous accompaniment of music; it provides her with both a "sensitive" and a "rational" source of inspiration. The language of painting is not a figural language for Solari, but rather a musical language, the language of contrasts and harmonies that exists on a level of human perception that is presumed universal. Whether this universallevel exists or not is not her question; her life's work is instead testimony to the power of believing that it does; the creative force and vigor of her paintings are convincing witnesses in themselves.
These paintings intimate a "music of the spheres" captured by the inner ear of the artist and transformed into space, color and light; they whisper of a shimmering, tinkling mathematical unity that pervades and illuminates the chaos of human experience - but neither negates nor obviates it. Every painting has an unmistakable center of gravity that is most often also its source of light, a light that emanates from beyond the internad superimposed planes of color and appears to
produce the painting itself: reflected and refracted, bouncing and rebounding from one plane to the next, it produces translucent colors in complementary hues along carefully controlled tonal scales. This light is the protagonist of the painting, its true creator. It reveals the dialogue between the artist and her inspiration, and through the refusal, inherent in her geometric forms, of all particularity, delivers the suggestion of a transcendent creator that is not, finally, a statement, but a fact of the viewer' s experience of the painting itself.
Finally then, Solari's endlessly exuberant variation on the geometric coupling of light and color becomes something like a subtle argument for the existence of God. In this way, quizzically, if not paradoxically, Solari shows us where the trajectory of contemporary abstract art reaches back beyond the mimetic revolution of the Renaissance to the spiritual representation of the medieval world. Her paintings are not windows in the sense of the Renaissance theoretician of perspective, Alberti illusory openings on the phenomenal world -, but rather in the opposed sense of the stained glass of the medieval cathedral: they are not openings, but screens. They mediate an infinite depth and Light that lies beyond their plane of existence. Their color and line serves to refract and filter apure light, a divine light, such that it becomes perceptible to human eyes. Such "windows" communicate the primary refraction of the unknowable into form and sensory experience, capturing the basic elements universal to that experience: line, plane, color, and depth; while the combination of these in tum suggests the tactile and the olfactory, the most content-specific of our sensory impressions. Solari's windows, her "planimetric structuralist eompositions", are much akin to visual realizations of the essence of the thought of Thomas Aquinas, and at the same time unmistakably permeated with the visual idiom of our nascent third millennium. But this eloquent female voice in the predominantly male world of abstraet art displays a much stronger affinity still with a different voice of the Middle Ages: that of Hildegard of Bingen. The prolific oeuvre of the "Sibyl of the Rhine," too, was produced out of inner commitment to serve as the musical instrument, or "voiee of the living light." She recorded her experiences in voluminous treatises shaped by a complex, visually laden language. But like Delia Solari she was no pure spiritualist. The visionary, theologian, composer, physician - and possibly even painter - was no less multi-faceted and no less fascinated by the phenomenal world than was the quintessential "Renaissance man," Leonardo da Vinci. It is fitting, then, that Solari's paintings seem to offer an expression in visual form of Hildegard's extended mystical - and musical - dialogue. Hildegard is best known today not for the Latin treatises of her own highly individual brand of theology, but rather for her no less original expression in the universal language of music. Thus is suggested, finally, a distinctly appropriate title for the oeuvre of her twenty-first century successor: Delia Solari's dialogue with the music ofthe Living Light.

Morgan Powell, Pb.D., is an historian of visual and verbal media and a contributing critic to both the European and American press.

“ Delia Solari’s astounding paintings revolve around a definite repertoire displayed in multiple versions. Geometrical, colorful planes seem to radiate freely. These shifting aesthetic elements add to the primordial essence and underline the relationship between emotion and reflection.
The superb work shown here reveals a remarkable strength focused on light and transverse strips. Light, apparently centered on a quadrangle, stands out from the background generating dynamism and animation. This core arises from a dense darkness that accentuates its energy.
Although several components strive to prevail, their hues change and suggst an increasing depth as they interweave. This “Warm Symphony” conveys a melodious sentimental tune that reverberates along a unique composition.”
Julio Sapollnik
“The Argentine Art Towards World”
Institutional Editons. 2006

Towards Light
The monumental assemblage featured by Delia Solari proposes a new paradigm of co-existence. Towards Light is a polyptych comprised of ten large-scale paintings, each of them bearing a more than eloquent title: Construction, De-construction, Rebirth, Reflections, Union (I, II, III, and IV) and Impasse (I and II). The figurative anecdote may allude to a concrete historical event, but at the same time it transcends it. In this work, Delia displays the sequence of a vital cycle that appears to rule the lives of men, nations, and the universe. Everything that man builds at different scales, whether it is a house, a business, a family, or a great city, seems to have a peak moment, an insurmountable summit like the one reached by the mountain climber. The micro and macrocosm have proved to be dynamic – in quantum physics as much as in oriental mysticism – and consequently, no situation is permanent and everything is cyclic. Sometimes, part of the process is understood as destruction and turns out to be painful; on other occasions, it may be perceived as a crisis, that is, an opportunity for change. After a catastrophe there follows a Rebirth, as when a volcano erupts and later lava fertilizes the mountain slopes. Then reflection on the event may follow; one may shed prejudices and a prioris and try to grasp the true fabric of events. In Delia´s work there are dark and luminous aspects; the artist feels the pain of others as if it were her own because she is everyone, and from that somber abyss she draws the strength to soar above the circumstances. Pain is a katábasis –a descent to hell– for the hero who must continue his journey along the path to happiness. But the hero is not alone; he has companions and adversaries, friends that betray him and enemies that forge alliances with him. Life in a community, be it family, neighborhood, city or nation, has its sharp edges, and it demands the practice of tolerance and respect for the other, the one who is different. This is the proposal featured by the artist through her sculpture Towards Harmony, executed in stainless steel, a grandiose vertical assemblage symbolizing stages that starts out from the autonomy of the individual (the base), ascends by way of modules with varying degrees of complexity (life in a community), finally to smooth rugged edges (disputes) and arrive at the perfectly harmonious form, the sphere. To be in harmony with oneself in order to understand others and to be at peace with humankind in order to become one with the Totality is the underlying declaration of principles in this sculpture.
The paintings and the sculpture created by Delia Solari constitute an aspiration to a new way of living among human beings. Between the larger canvases the artist has placed narrower ones that function as links; it is not by chance that each of these is titled Union. Delia Solari has created a pictorial and sculptural assemblage as a proposal to rethink the universe and humanity as an infinite fabric woven by a mysterious ´ineffable´ that we metaphorically term ´Light".
Julio Sánchez

The notion of ascent to a higher spiritual level is one of the most enduring and
entrenched human dreams, a fantasy that not only has created an intricate mesh of relationships and associations pertinent to all times and cultures, but also enlightened our concerns and thoughts about the ultimate meaning of life. Delia Solari's works recreate the old ideal of perfection through a powerful and convincing aesthetic language. Her installations consist of abstract geometrical figures that resolve around the symmetry and balance we long for, and result in lucid compositions illuminated by sparkling colors that codify mankind's latent ambivalent nature, often oscillating between the consternation of war and terrorism, and the hope for peace and harmony.
The skyscrapers and the climbing impulse, as well as the symbolic sculpture, merge in our minds with the aura arising from ancient pyramids, portals and obelisks, mysterious temples surrounded by a subtle and sealed cosmic calling. Delia Solari's work has been nominated for the 2007 art TV Awards.
Daniel Pérez
"The Golden Book of Argentine Art"
Institutional Editions. 2007

FOR THE HERALD
It is not uncommon for Argentine artists to earn awards abroad. So it should come as no Surprise to learn that Delia Solari who had •been chosen as our representative in the Fine Arts Award in the New York ArtExpo, should have won the prize. After all, Ms. Solari as a long and distinguished career to back her up.
The surprise comes for the works that moved the jury to give the award to Hacia la Luz (Towards Light). lt is a polypitch formed by six large, shimmering paintings made in the memory of the 9/11 tragedy. In them Solari shows her mastery of the neo geometric figurations that has earned her praise but in her country and abroad. Where she has won important prizes in Europe, Asia, and the Americas, but the present work are tingued with a yearning spirituality that is not typical of her previous, much more dramatic and assertive works. The same feeling radicates from an accompanying sculpture, a tower of steel crowned with a silvery orb that seems a beacon to light the way to redemption.
Alfredo Cernadas
Herald Tribune
Buenos Aires, Argentine

Expressionism, the aesthetic movement that resorts to emphasis and distortion to convey emotion, began in the early 20th century in northern Europe, especially in Germany. A few years later, Russian artists introduced the use of geometric shapes on flat backgrounds and accentuated the spiritual qualities of pure forms. Although Delia Solari usually favors abstract art, frequently explores other perspectives, like the so-called Geometric expressionism, exemplified by the flawless painting shown here,
a work that easily blends the aforementioned styles.
This superb image reveals an utterly original and balanced design, aided by lively, impeccable rectangles, squares and triangles that acting as building blocks, construct a beautiful composition.
An appropriate combination of ochre and yellow, accompanied by intelligent blue touches not only add vitality and beauty to an already impressive picture, but also prove Delia Solari's gift, sound knowledge and expertise.
César Magrini, 2008

Delia Solari's striking works reveal a symphonic harmony that easily resolves opposite elements through wise decisions. Thanks to a masterly dynamic interplay, her unique compositions consist of countless hues intended to emphasize the supremacy of light, the main visual component.
The interesting painting shown here depicts powerful, lively beams that suddenly burst into the dense darkness and then seem to go back to the primary source, thus creating a mirror-like image. The colorful surfaces appear to touch, blend, split, overlap and intersect, while the pattern reproduces itself, varying in place and size, to integrate the heterogeneous shapes. As a result and regardless of the original gleam, which is never approached, Delia Solari's geometry transcends all kinds of abstract or representative meanings, turning into a purely spiritual movement that keeps a secret able to stimulate the vibrating soul. As Kandinsky has pointed out, "Sensibility is always the last resort."
Mara De Giovanni
Art Critic
December 2009

“Countless accurate brushstrokes build the appealing image devised by Delia Solari. The lively overlapping lines and surfaces effortlessly create a superb symphony of colors. It is worth mentioning that abstract art has on important message for those willing to approach the modern world characterized by painstaking work and technical improvement.
Guidelines appear, proliferate, come and go, captured by the sparkling hues that the gifted artist depicts on the canvas.
Superimposed shapes emphasize the extremely belligerent pigments that invade all corners in a remarkable interplay.
Looking at Delia Solari's interesting painting we sense the presence of many hidden workers perched on an invisible scaffolding, hammer in hand, attempting to construct a glittering metropolis that lives by night and dreams about reaching the top. Thus, a great deal of steel, concrete and glass become a remarkable composition, Delia Solari is undoubtedly a talented artist that deserves our praise.”
Prof. Maria Tamara Revythis
Art Critic
From the book “El Presente del Arte Argentino, sus referentes”
December 2010

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