‘Apart form its obvious worth, Feely’s recent work has a strong and subtle current of what makes art worth sharing with others’
Jude Richardson. Daily Journal. 2002

‘ ..he has known how to respect the demands of aesthetics while being open to the contemporary.’
Penelope Silva. Variedades. 2002

‘ National Patrimony is a provocative piece which seeks to defend the liberty of the artist precisely at a moment when the risk of totalitarianism pervades all areas of national life’
Muriel Pilkington. Daily Journal. 2002

‘To see the 40 watercolours of Erik Feely on show in room 16 of the Museo de Arte Contemporaneo de Caracas is like entering a dreamish enchanted wood. They are a happy symbiosis of the figurative and the abstract’.
Alicia Alamo Bartolome. El Nacional. 2000

‘These watercolours reveal the secrets of nature and at the same time the internal romanticism of the artist’
Glenda Dorta. Caracas. 2000

In his recent work the artist simultaneously converts man into subject and object producing a sensation of becoming. This sensation can only be fully realized by the spectator when we penetrate his magnificent watercolours…which are fresh and in which the craft of the painter is evident in his mastery of this difficult but beautiful technique.
Graciana la Rocca. Caracas. 2000

‘His paintings are citadels of wind torn skies, remnants of denuded hills, soaring birds, pools of broken reflection subdued hazes of mist and mountain, sluggish streams. And implanted in the surreal landscape, “Man” and in the later series ”Man and woman” represented by basic shapes. The figures become lost in the wilderness of time, the essence of which pervades life as an unknown icon. These elements imbue with a freshness his philosophical approach to scripture, in his visual relation to his idea of Humanity and Creation’
Willi Chen Trinidad Express. 1999