SELECTED REVIEW EXCERPTS *Cate McQuaid, Off the Grid, Boston Globe, February 14, 2008: Anne Krinsky's delicate, well-made drawings and paintings at Soprafina sport layers of different types of gesture. In most, she starts with a grid, adds texture and a little hint of chaos with paint splatters and drips, then builds geometric forms within the grid, and tops it off with dynamic black lines that pivot over the surface. They please the eye, but they don't have a lot of edge. Still, there's enough tension among her styles to invite engaged looking. She activates "Diagonal Thinking #17," in acrylic and pencil on paper, with bold black lines angling over the surface and the organic quality of the splatter beneath, in berry shades and white over a pale red grid on a coral and orange ground. The warm tones lull the eye, and a pattern of ellipses drawn over the grids gives the work a rocking rhythm. With these works, Krinsky creates the sense of looking through a window, of varied moods and rhythms within, without, and along the surface. *Cate McQuaid, Making a Mark: Artists from the Boston Drawing Project at Danforth Museum, Boston Globe, August 30, 2002: Anne Krinsky's marks are less precise, but in all their chaos, they too add up to something – in The Language of Flowers, with passages of orange framing one of white, blue lines zip about and surprisingly gather and then unfold into blossoms. She pins this wildness beneath drawings of wrought-iron ornamentation that hover on the surface in heavy black; we have here the garden gate, and the flowers within. *Susan Mulski, Anne Krinsky: Recombinations -- at Andrea Marquit Fine Arts, Boston, Art New England, April-May 1998: In her exhibition of mixed-media works on paper, Recombinations, Boston artist Anne Krinsky creates “a kind of visual gene splicing” in which geometric designs are broken apart and reassembled into new patterns. Placed in a diptych or triptych format, the multiple images are recombined one step further.   Krinsky’s works test the boundaries between painting and drawing, the two techniques skillfully integrated to create a variety of interesting patterns; drips, scribbles, washes and crosshatching enliven the surfaces. Connecting the Dots uses gestural circles of color, while in works like Triad and In Stride the surface is colored with bold flat shapes. Some of Krinsky’s forms are inspired by antiquity. The shimmering effect of Byzantine mosaics is recalled in the gold radiating throughout the backgrounds. Skeins of gold paint are paired with vivid blues, purples, turqoise and pink. The intricate geometric pattern of Moorish lattice screens is brought to mind in the triptych Patchwork. This grid of crosses and eight-pointed stars is alternately pushed into the background and brought out onto the surface, emerging or receding through layers of crayon and gouache. The geometric design, random dots and a finial shape in the center panel all work together to unify and energize the three panels. Hung like jewels in the gallery office are some of the smallest and most beautiful works. These diminuitive triptychs, sometimes filled with xeroxed images, are resplendent with gorgeously rich and luminous surfaces. Red, gold and black bring to mind richly embroidered silk in Chinese Red, while elegant greens and gold saturate the surface in Chimera. While these pieces make good use of multiple panels, in other works the triptych format is less successful. Some panels are so full of competing elements and multiple layers that they dissolve into chaos. Overwhelmed by too many disparate things, these works sometimes look unresolved. Recombinations are chancy -- sometimes it is hard to improve on the original. But Krinsky's versatile technique will no doubt allow her art to evolve into something new and wonderful. *Cate McQuaid, Galleries: Anne Krinsky: Recombinations: New Works on Paper at Andrea Marquit Fine Arts, Boston Globe, January 18, 1998: Anne Krinsky's new works on paper at Andrea Marquit Fine Arts continue her concern with the structures of life by which we lift ourselves from the primordial ooze: language, genetic codes, mathematical sequences, architecture. Both ooze and structure appear in each of these diptychs and triptychs, wrestling each other for dominance. In Patchwork, a gouache-and-crayon triptych, the central panel shows a shape that looks like some sort of architectural ornamentation, or perhaps an abstracted double helix topped off by an arrowhead. Drawn in tight green crosshatching, the object floats vertically, bisected into one dark side and one milky white side. Beneath it, a drifting pattern of star shapes can be made out beneath red crayon scribbled lines and hovering blue dots. The left panel features the same star pattern, deeply imbedded beneath a haze of muted gold, like a tile floor that has been covered in gold dust and mud, applied with painterly flair. The vivid blue balls dance over the surface like visual hiccups. They appear again in the right panel, an orbit of blue spheres over a smeary, pink-and-gold surface through which you can barely glimpse again the star pattern ... Krinsky sees patterns everywhere, even underlying apparent chaos. She draws the tension between the two; the explosion into form, and the subsequent melting back into fog. *Sara London, Legends -- at Mills Gallery, Boston Center for the Arts, Art New England June- July 1994: Organic gouache paintings by Anne Krinsky create narratives of a world that is far more abstract. Color and line form whimsical biomorphic narratives in which large dots and gourd-shaped or dragonlike contours are the recurring protagonists; lines snake across rigidly blocked-out fields as if teasing the harsher geometry. There is a dynamic quality to these pieces. Krinsky achieves an animation of pattern, color and shape that communcates in a mysterious language, at once compelling and entertaining. *Burton Wasserman, Exhibitions in Sight -- Altered Sites in Fairmount Park, Philadelphia, Art Matters, September 1988: Anne Krinsky’s Gateway Dragon/Hawk Shadow is situated nearby. Hugging the ground, it presents two silhouette forms, a painted red gravel dragon in honor of 1988, the Chinese Year of the Dragon, and a black gravel shadow of a hawk, acknowledging the birds that … fly over this part of the park. An utterly engaging image, it is literally in touch with the land and figuratively in contact with the sky. Together, these forms are very likely to remain securely fastened on the back wall of your memory long after you’ve left the scene.