“These are contemplative works, fuzzy edged, sometimes almost still. The grid drew me in; the stripes made me uneasy. Why? The spinning creates a frequent shadow at the center, which fits into the grid like an origin point, but reads ominously against horizontal bands, like a featureless head or a black sun. The grid, meanwhile, beats open and closed as shadows fan from the center, as dusky tones warm and cool. It's a matrix for life's rhythms.”
- “Elaine Buckholtz’s presences on a wall” by Cate McQuaid, published in the Boston Globe May 2, 2018.
