Θραύσμα σπουδής για το Γράμμα Υ

Executed with meticulous stippling, the drawing builds tone and texture through dense clusters of dots. This method allows subtle gradations of light and shadow, giving the letter a three‑dimensional presence while maintaining the flatness of the paper surface.

After moving to San Francisco in 1954 and studying at the California School of Fine Arts, Chryssa settled in New York, where she began exploring letters as sculptural material. The drawing belongs to a series of studies that preceded her neon installations, serving as preparatory investigations into the visual impact of isolated characters.

During the early 1960s, Chryssa’s practice shifted toward the graphic realm of signage, newspaper typography, and neon advertising. This work situates itself within that period, documenting her transition from two‑dimensional drawing to three‑dimensional neon sculptures that would later define her oeuvre.