Pessia studied Printmaking at the Art Students League of New York and on her own, developed many original techniques in her studio.
As described by Malcolm Preston, Art Critic for Newsday: "Perhaps the most inventive and least conventional prints are those by Pessia. Her Monoprints have strong contrast of light and dark interesting off-beat shapes, a variety of textural explorations and high degree of artistry. But finally, it is the content of her work that compels us."
Or by Helen Harrison, Critic for the New York Times... "Pessia's Monoprint is one of the more colorful prints that features a complex combination of jagged shapes and gritty textures..."
In her Monoprints Pessia is primarily interested in creating space with the illusion of mass. According to the Artist, "My concern is the potential to create depth, mass and structure, based on Nature's composition."
Pessia's work is unique. One of a kind prints. It is the result of much experimentation in the field of printmaking. She is always working on new ideas in a spontaneous way, using the results to further develop her technique.
In her Monoprints Pessia always uses an inked plate as background, and stencils it out with papers or different textures. By using this technique and different types of paper, she gets half-tones, which enable her to get mysterious, surreal effects and exploration of weather effects in her landscapes.