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.
The light marks and the slight deformation of the contour lines almost seem to emit a vibration, conveying a sensuality that is reminiscent of Schiele. The doubling or multiplication of body parts (of the legs, for instance), suggests the idea of movement captured by successive photo shots, or multiple expositions. It is as if the artist aimed at making enhanced drawings that turn into moving pictures. The details of body parts overlap, forming several layers, in some cases even resulting in abstract compositions.
In the levity of these drawn nudes Elysia comes the closest to her vision of ethereal/etheric body, which is an expressive body, a body that turns into writing. The art of Elysia is not written on the body, but with the body. More than that: it is one with the body.