The Venezuelan art critic Roberto Guevara (1932–98) reviews the work of the Venezuelan visual artist Corina Briceño (b. 1943) on the occasion of the exhibition Óleos y dibujos at the Galería Minotauro in 1983. In poetic yet specific, accurate terms, Guevara discusses the formal and conceptual characteristics of Briceño’s work. Referring to her early works, he describes the constant symbiosis generated by the fusion of human figures with different shapes in the natural world, a process she creates with the lines of her drawings and subtle transparencies. Turning to her second stage, Guevara mentions Briceño’s exploration of her natural, every day, familiar surroundings. These two features are representative of Briceño’s work during what are referred to as the first two stages in her art career. The first stage began in the late 1970s, and the second began in the 1980s.
Briceño’s concerns and style have not changed since then, though she works in different media, sometimes making prints, sometimes making sculpture. The insights mentioned above make Guevara’s review essential reading for those who would understand Corina Briceño’s art, since it is one of the first (descriptive and analytical) references to her work.