Today these forty remnants of that prayer are forever incomplete; only thirty-nine remain. The piece can no longer be intact, as one fragment of the tale was separated from the whole, left as a parting gift alongside soon to be distant, sweet memories. Like a puzzle with a lost piece, the prayer may be somewhat lacking, or is it, for the message that was sent into the cosmos, remains there, in its entirety, for eternity.

Okret controls her message as if in a Vetruvian square/circle. Yet her squares are not particularly squarish and her circles are not quite circular. With her work, the classical proportions are reworked into intuitive relationships, less mathematical and more evocative. Artistic license allows for this in her work, as her classical training merges with her Uruguayan background and her affinity for the Japanese, in their expressive lines and subtle forms. As she strives to express her tremendous anxiety she consciously attempts to contain and calm that disquiet and box her own self into the Vetruvian formula. Blending science and sentiment is what Okret does best.

And blend she does. Passionately, Okret starts with the almost-square and the central form, dot, or line and mixes the watercolors allowing the paint to merge, sometimes more, sometimes less, always leaving an airy, watery, ethereal sensation between the two. She manages to combine this air-like quality with the textured focal point, a distinctive feature of the watercolor-crayons that Okret tenderly douses with water, such that the individual pieces, when joined as a whole, provide a musical rhythm, alternating between pseudo-evaporation and a tactile presence. The viewer is privileged to see, feel and intuit the work simultaneously. The Artist’s prayer flickers like a sublime broadcast, at times lucid and at times vanishing, a frustrating ebb and flow. The accompanying text is like a disjointed message; the viewer unthinkingly understands the jumble of thoughts and emotions but the language is muddled and intermittent. For reasons which are not easily explained, the overall effect is fully comprehensible. Her unorganized thoughts add a conceptual element to her work without detracting in the least from the visual aesthetic.

When combined, today, these thirty-nine pieces form a large work whose outer limits are flexible, undefined. As a whole they are reminiscent, visually, of the color field painters of the New York School. But this association is fleeting, for there is a dynamic in Okret’s work which evolves out of the endless combinations of the internal color stain miniatures. The aforementioned rhythm is at once ephemeral and eternal. Her work is a visual song whose words dissipate, yet succeed in conveying their message.