To describe this unusual work it is necessary to resort to the artist´s countless goals and thoughts.
What one sees is an elegant piece of wood decorated with a woven handbag from wich a small primitive figure emerges.
All objects are enclosed in a delicate glass box.
The gifted artist truly appreciates ancestral testimonies and has decided, “To learn the sculptural techniques used in ancient cultures.”
Regardless of the object, she prefers to ponder, “The making process.” In other words, “To get involved in the mysterious change from simple clay to aesthetic manifestation.” … “To search for common raw materials that properly cleaned and mixed with natural substances, become malleable and may be molded.”
Then she adds, “The starting point is a small ball and the tools are my hands, some feathers, a stick of wood and a few pebbles.”
Imperceptibly, the mind and creation interplay leads to a combination of memories and novelty, in works turned into marvels from bygone times.

César Magrini
Escritor, periodista y Crítico de Arte


Patricia Staub’s Sculpture has an excellent cuality of craftsmanship and a remarkable level of expresion. Her pieces show the undeniable virtue of being done with conviction and strength in the space, not like mere representations, but like efective art forms. The themes, centered on human body, reveal that she is interested in obtaining an expresion in which beauty, understood in the clasic sense of harmony, is a concept that seduces the artist, or even better, is natural and familiar to her. Individual figures or groups of figures, nudes and torsos, allow the artist to make use of the material that is highly orientated to the clasical order of formal clarity, almost like a pictoric game of rythms and contrast.
Here there is a rigorous search for a simple language that does not disdain the affectionate sense of things and the virtues of a substantially intimate point of view. Adding to this the artist also knows how to sugest different feelings that move the observer. Patricia Staub prefers the sculpture in which the volumes and its relations dialogue with the textures, colors and shapes, within a setting in which the theme, like the psicology of the characters, always maintains a record of balance and harmony that add grace and contusive properties to the shapes.
The use and mingling of different materials, like the control over the gestures and postures in the her pieces as well as the control over the textures and the movement of the surfaces, all contribute to the fact that Patricia Staubs’ sculptures not only have liveliness in the expression but also cauality in the subject that in general, is not usually common in sculpting.
If we add that practically in all her art work she reveals a slight hint of sensuallity which is not limited to the pleasure of modeling or giving expresion to that which has none, it is possible to conclude with saying that these pieces have the ability to create an intimate dialogue with the spectator that feels that beauty is still a category that is very much alive at the end of the milenium.

Horacio Safons
Asociación Argentina de críticos de Arte
Asociación Internacional de Críticos de Arte
San Fernando (Argentina) August 1999

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