‘Las Colinas Protectoras’ Rubén Maya Moreno Galería Libertad, Querétaro May 1995

The work of Louise Heller, which is on show in Queretaro, is work which attracts the spectator with its strength, vitality, and above all, artistic wisdom. There is nothing casual in the confidence of the brushstrokes, and use of colour. This is the result of her vocation beginning in childhood and enriched by her studies in England and Sweden.

This young painter arrived in Mexico in 1994, after having lived an intensive artistic period in East Africa, where she began by leading painting workshops. From the moment she arrived in Mexico, she has interpreted the landscapes which surround her, notably the rocky mountain range of Tepoztlán in Morelos, where she chose to live.

The interpretation of the scenery has been a constant theme in Louise’s work. In this interpretation one can appreciate a formal analogy with the work of the painter Nicolas de Stael. However, we should recognise that the results reached by both artists have followed different, even opposite paths, given that de Stael claimed to love the rule of editing emotion, whereas Louise Heller always superimposes the emotion on the rule.

‘Los Colores del Presente’ Casa Piñon, Rocio Osorio, La Jornada, 28 December 1999

Fifteen oil paintings on wood panels make up this collection. They are the fruits of a year of experimenting with finding a way to express her personal and artistic life.  The works recognisably communicate freedom, joy of life, and light. With warm colours and bold strokes, Louise recreates the tranquillity of a sunset viewed from her garden, the intimacy of sharing afternoon tea or breakfast with her young daughters….’moments of daily life stolen from time’ writes Maria Vinos in her introduction to the exhibition.

‘Animales Fantásticos’ Elvia Buenrostro
Diario de Querétaro, January 2007

She currently favours the use of the curved line which brings sensuality and intense light to her figures, highlighting the strength of colour, her ideas adapting naturally to depicting water and its coexistence with giant fish. The painter explained, ‘I always work with vivid colours, and now I painted the fish in a huge and unreal size to do something different and to transmit the sensuality of water, and figures under the water, because life in the sea has a relationship with mythological beings’. 

‘Faces Among Leaves’ Goethe Institute Irungu Ndirangu Daily Nation, 19 March 1993        

Louise paints like no other painter in Nairobi. Those who love classical European art, will love her work. She loves working from live models. The works are studies of the human body, but it is not anatomy…..Louise takes to painting like a duck to water. She does not sketch first like many artists. She plunges straight into the use of colour and the picture takes over. Those who love strong primary colours, will love these works. She paints through the stream of consciousness. What comes out are powerful images even if expressing a mere moment in a man’s life….This is the first time such works are being shown in Nairobi.  Painting from live models is a new art here. Immediately after this exhibition, Louise will hold a seminar on this technique.   
‘Faces Among Leaves’ Nommo Gallery, Jim Combe Sunday Vision, May 9 1993      

A Ugandan artist, Alan Birabi, was very impressed with Heller’s works. On display. ‘ Her style is unique and rich, Her works are deeply rooted in her culture. The major lesson for us is her economy of design aspects. She is a classic artist’. Heller’s pieces reflected tremendous craftsmanship and brilliance of conception….Heller works in a unique way. She literally plunges head-on into application of colour without any preconceived idea of what she is to do. From start to finish she works frenziedly as one transported  into that exclusive  and sublime sanctuary only the real geniuses know.  Colour and more colour and played with and superimposed until the artist is content, until beauty is recreated.            

‘Recent’ Works Margaretta Wa Gacheru Daily Nation, Nairobi, Kenya, December 1993              

In contrast to her Faces Among Leaves show, which was largely representational, her recent works are abstract, inspired less by people and more by land and seascapes she’s seen since she has been here.….Her ability to evoke elemental gutsy emotions  through the primary colours  and primordial forms  seem to shimmer through her abstract designs. For instance, ‘The Sun in the forest’ is striking for its sheer simplicity of shape and subtlety of hue. The same can be said for ‘Blue Spikes of Arcacia’ and even ‘Underground Waters’. In fact, her reduction of realist and colourist elements in this show suggest  a vibrant versatility  and artistic control that’s refreshing  and quite exciting to  behold.