Observing Elysia’s works on paper, what we immediately notice is a stylistic difference associated with two distinct types of drawings. In the charcoal drawings, in particular those that portray faces (which often look shocked and have no pupils), the stroke is bold, thick, sometimes even aggressive, and the spaces highly saturated with color.
The other style, which can be seen in the pencil drawings, is used mostly for nude portraits, in which the face is intentionally omitted, and the body itself is only partially visible. Here the lines are less clearly defined, and the pencil only insists on certain details, such as the curve of a breast, a hip, the toes, or the genitals.
The lines become increasingly thin and sparse: with just a few marks, Elysia manages to suggest the body of the portrayed person. Her portraits are impressions, or evocations, rather than descriptions. It is in these drawings, more than elsewhere, that she feels a need for immediacy in communicating.