Impressionism Times 2
Vivid colors and abstract shapes are the hallmark style found in Rodrigue’s paintings that she said “reach out to us in the continuity of our memory of time, life and death” (…) Her non-objective paintings, using interrelated shapes, colors and textures, effect an array of light and dark moods and feeling, said Rodrigue. (…) [She] said that no matter what medium she uses, she’s been expressing her life’s experiences – her ups and downs – through her paintings. “It’s like I’m telling a story through each of my paintings”, said Rodrigue, who’s published a book about her life’s work.
Janice De Jesus, Bay Area News, San Francisco, 2018
A magnificent series of works with assured composition, declining successive layers of photos on acetate, pictorial interventions, and light materials integrated into the whole. The result is an exquisite refinement and invites our gaze to embrace the passage of time through the photographic layers that serve as supports for the memory of matter. These images created from organic material or manufactured by the human (wood, metal, etc.) reveal the materials not in their physical reality, but in a subtle representation on transparent support. Rita thus transposes matter into a "ghost" register on the border between the visible and the immaterial.
Josée Valiquette, commentary issued during the exhibition
at the Gallery Art Plus, Sutton, May 2017
Sur la ligne infinie
Although these abstract compositions are imbued with mystery, the artist does well at keeping the viewer well grounded with her attention to detail.
Judith McGrath, X Press, January 2000, Perth, Australia
Private Exhibit, 1992
The common theme in her work, which spans a lifetime, is freedom and liberation. Many of the subjects are nudes; and birds frequent the background, even foreground. Rodrigue calls it “a liberation of one’s inner voice.”
Scott Verity Stevenson, Aylmer Bulletin, April 8, 1992
Song of Songs
Her subject is The Song of Songs, and I can think of no more beguiling pictorial interpretation of the great poem than Rodrigue’s graceful representations. (…) The paintings of Rita Rodrigue – like the Song itself – can be enjoyed for their beauty, their passion and their exquisite craftsmanship.
Roger Amoroso, Ottawa Revue, June 3-7, 1983
Rodrigue exhibits 20 pastels drawings and watercolor paintings. Her work is assured, unhesitating and lively. (…) Rarely are any passages smudged or blended: The artist wants to keep the medium as thick and rich as possible.
Robert Smythe, The Ottawa Citizen, September 19, 1977