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The Boston Metro News. Article on "Superluminous" by Linda Laban, Nov 2008

The New York Times. Review of HVCCA "Peekskill Project" by Benjamin Genocchio, Oct 2008

El Diario. Review of "Deep Roots" by Juan Merino, April 2007

Herald-Tribune. Review of "Mettle" by Kevin Costello, Mar 2007

The Pelican Press. Review of "Mettle" by Marc Ormond, Mar 2007

The Bradenton Herald. Review of "Mettle," by Joan Altabe, Mar 2007

The Southampton Press. Review of KSFA show by Eric Ernst, Aug 2006

Harbor Style Magazine. Feature by Renee LePere, Aug 2006

New York Times. Review of "Covalence" by Benjamin Genoccio, Mar 2006

Art Times. "Culturally Speaking." Review of "Covalence" by Cornelia Seckel, Apr 2006

Pulse. Review of "Covalence" by Benjamin Genocchio, Mar 2006

Chronogram. Portfolio Feature by Brian Mahoney Jan 2006

Pirate Coast Magazine. Review of "Abrazo" by David Futch, Mar 2005

Boca Beacon. Review of artist by Malcom Brenner, Jan 2005

Boca Beacon. Review of "Abrazo" by Kathy Futch, Jan 2005

Herald-Tribune. Review of "Abrazo" sculpture installation by Amy Abern, Dec 2004

Pirate Coast Magazine. Review of artwork. Feb 2004

New York Times. Review of "Earthtones", by D. Lombardi, Sept 2002

Art Times. Review of "Earthtones", Sept, 2002 by C. Seckel

New York Times. Review of "Defragmentation" solo show, by D. Lombardi, April 7, 2002

PCNR. Review of "Earthtones, August, 2001 by Wendy Kagan

PCNR. Review of One Fair Street "Recent Works" show, Dec. 2001 by Wendy Kagan Publications

Chronogram Magazine, Cover Art. Feb Issue, 2002

Kudzu Review, three cover designs. 1997,1998  



''Emil Dickin-Alzamora: Defragmentation''

By D. Dominick Lombardi

The art of Emil Dickin-Alzamora is varied in media and in style. His mixed media works on paper, which are playful, illustrative and at times a bit political, tend to be more akin to a whisper than a concrete thought.

Working quickly, and with little or no preconceptions or biases, Mr. Dickin-Alzamora creates in his works on paper, vignette after vignette of unclothed individuals who tumble, bumble and connect.

When he switches to bronze, he becomes more serious minded. The center piece of the exhibition is a bronze statue titled the ''Harpist'' (1999-2000).

It depicts a young man, perhaps the artist himself, plucking the invisible strings of a harp that stands in for the subject's head. ''Harpist'' also says a great deal about Mr. Dickin-Almazora's art as it represents his interest in making Surrealist, Realist and Abstract Art.

This mixture of styles, materials and levels of commitment is also his weakness because he comes off looking too casual. He has undeniable, formidable talent though, and for those interested in seeing a burgeoning artist mature should keep an eye on Mr. Dickin-Alzamora, for there is surely more to come.

Published: 04 - 07 - 2002 , Late Edition - Final , Section 14WC , Column 2 , Page 9  



by Wendy Kagen

A woman springs to life from a man's loins like a genie released from a bottle. A suited businessman, a pious monk, and a yogi pose together in a curious totem pole. A harpist, cast in bronze, loses his head to music, the contours of his body segueing into the lines of his instrument. A dancer balances precariously amid the mayhem, drawing from reservoirs of peace and certainty that seem to glow from within.

These are the works of artist Emil Dickin Alzamora's graceful yet playful, meditative yet infectiously whimsical. In these drawings and sculptures, philosophical introspection collides with freewheeling humor. They invite your presence this weekend, December 15 and 16, in the artist's studio at 1 Fair Street in Cold Spring.

Born in Peru and raised in Boca Grande, Florida, by a family of artists, Alzamora has never known anything other than the creative way of life. Since birth, beauty has surrounded him in the form silk batiks, clay plates, paintings, and puppets—all creations of his mother, grandmother, and aunt. From these fertile origins, Alzamora started drawing at the age of two, passing from a finesse with stick figures to an intuitive knowledge of anatomy that informs all his art. Drawing for him comes as easily as breathing, as naturally as play. His inspiration: the blank page and its infinite possibilities. "I never know what's going to appear during a drawing's creation," says Alzamora of his stream-of-consciousness, ink-and-watercolor compositions. "The drawings have a life of their own. When I draw I am unattached, non-judging. The pen in my hand is a conduit for my subconscious, which seeps out onto the page."

If drawing is about surrender, sculpture in bronze, says Alzamora, "is complete control." While he is at play on the page, he comes to sculpture with a definite sense of intention. Yet both forms stem from the same set of skills and creative origins, and both lead to the same domain of intimacy and deep understanding.

Alzamora has lived in the Hudson Valley for three years, arriving in the fall of 1998 to work at Polich Art Works, a sculpture foundry in Newburgh. It was at the foundry that he developed his body of cast-bronze works, culminating in the creation of four larger-than-life figures: Integration, Autonomy, The Harpist, and Axis. A nine-month gestation period birthed each of the four works, created simultaneously in a maelstrom of creative energy. After a full day of labor at the foundry, Alzamora would work well into the night breathing life into his emerging compositions. He left the foundry in May 2001, armed with a solid knowledge of bronze sculpture, and craving full-time devotion to his own artistic work.