June 2006: "Build It and They Will Come" / The Miami SunPost/ Michelle Weinberg article about 'Miami in Transition’

"...Depeña's aerial landscape photos draw the eye to a fuzziness at their center that is mesmerizing, evoking satellite and surveillance photos."

November 2004: "Exposing the urban landscape" / The Miami Herald / Anne Tschida article about solo show at Ingalls

"...Miami's Depeña has created studies where nuance, light and lonely spaces need to be pondered...Without a human in sight these images could be soulless, but they are not. There is warmth in the emptiness..."



October 2004: "Unnatural Nature" / The Miami New Times/ MIchelle Weinberg article about solo show at Ingalls

"...Depeña exhibits (photographs) that are the product of a steady, undistracted gaze. Depeña exposes an obscure cycle of nature in the midst of a banal suburban parking lot. His lens focuses on this nocturnal micro ecology, no cars visible, and he appears to be conducting some arcane analysis..."


August 2004: "Light is Fantastic, Imagination Too" / The Miami Herald / Elysa Turner article about "Light and Atmosphere"

"...Depeña shows his unerring eye for the unsettling possibilities within unremarkable parking lots and backyards..."



August 2003: "Consortium Show Surprises as Usual" / The Miami Herald / Elisa Turner review on the PBICA show

"...Perhaps the most tenacious works here are the deceptively innocuous video installation and photographs by Ivan Toth Depeña. He mines the unsung beauty within blue skies striated with low-slung roofs and power lines. But he also cases their vulnerable exposure with an insidiously searching gaze."



July 2003: "New Art on Exhibit" / Palm Beach Post/ Gary Schwann review on the PBICA show

"...The show's most intriguing video is by Miami artist Ivan Toth Depeña... Depeña's eye is drawn to the mechanical devices that surround us like sentinals - Antennas, video cameras, AC units... These objects often go unremarked. But when viewed in combination with camera tricks and a soundtrack full of whirring and humming, they seem eerie and mysterious, even a touch foreboding."



October 2002: "Exhibits explore radically different shades of voyeurism" / The Miami Herald / Elisa Turner review on the installation at locust Projects

"...Depeña's Like Never Seems is a beguiling sequence of shots... In Depeña's work, the pulsing, insistent sounds also give an urgency to the passing landscape that at first seems so ordinary, yet the artist gleans on a compelling sense of geometry and an almost Edward Hopper-esque sense of loneliness... often telling us to zero in on an essential detail, and yet Depeña lures us into savoring the big picture."


September 2002: "Art from the hard" / The Street Miami / Damarys Ocana review on the installation at locust Projects

"...Depeña's relies not on the explicit, but the lack thereof. A looped video show bland suburban skylines... hinting, somewhat sleepily, at the wrinkles on the bottom side of our collective social fabric... an eerie, disjunctive feel."