Elena Presser (born November 3, 1940) is an Argentine artist who focuses on keyboard pieces, specifically on Johann Sebastian Bach's Goldberg Variations. Her artwork is her interpretation of classical music and is defined with shapes and symbols within her artwork. She also includes religious notions affiliated with the high quality of music. She also believes that music is unique to everyone, therefore she decides to primarily include it in her art.

Elena Presser was born in Buenos Aires, Argentina and has also lived in Florida, California, and Philadelphia. It was in Buenos Aires at age 18, when her interest towards Bach's musical pieces grew substantially, and even more specifically on the Goldberg Variations. Aria with Diverse Variations for a Harpsichord with Two Manuals was a series of piano pieces composed by German composer Johann Sebastian Bach in 1741 which contained the final music series titled Goldberg Variations. Presser often repeatedly listened to the Goldberg Variations in order to detect the underlying differences among the musical composition and its features. Re-listening to these pieces helped Presser transform Bach's compositions into a visual representation and three dimensional form of keyboard music. Presser's various artworks contain numerous forms of medium in which she arranges her interpretation of the Goldberg Variations to her personal tastes. Presser has done interpretations of other music compositions including pieces from the Renaissance, Baroque, and Classical era.

Presser received her education from various universities. In 1962, she attended the University of Buenos Aires and later attended Miami-Dade Community College, where she attained an associate of arts. Furthermore, Presser enrolled in the University of Miami in 1976 and to Florida International University, where she received a bachelor of fine arts degree.

Unfinished Symphony, 1982: Presser used silk ribbon, wire, paper, pastel, pencil, and silk thread. Presser included a symphony by Austrian composer Franz Schubert. According to Presser, the Unfinished Symphony has both a dramatic drop and a tragic touch to the notes. She assembles the emotions attached to the notes of this symphony by working her way outwards the canvas, with the slow tragedy centered in the middle and the greater tragedy splashed throughout her canvas. Presser intended for the second movement of notes to be more serene and joyous. The middle portion of the canvas includes a cluster of tiles with scattered numbers and letters embedded with darker shades of colors. These tiles were meant to represent the tragic energy evoked by the chords.

Plate III Variation 20 from the Goldberg Variations, 1984: This piece of art included silver wire, paper, nails, pastel, silk thread and pencil. This piece was based on Variation 20 from the Goldberg Variations and has numerous strings stretching from top to bottom, all aligned at the bottom to holes. This symmetrical formation of strings, where each depict a beat, are reflected both vertically and horizontally and were created to form a harpsichord. The strings are held together at the top in a v-shaped form from a top angle, and represents the intensity of human joy and tempo emanating from these chords. The calligraphy inscribed among the structure is the artistic signature of Presser that is constantly seen throughout her various other artworks.

Variation 3, 1983: This artwork consists of sterling silver wire, handcrafted paper, silk thread, pencil and pastel and is based on Variation 3 from the Goldberg Variations. Variation 3 had a time signature of 12/8. This time signature was often regarded as a celestial note by Bach and was an influence to the choice of color in this artwork. This variation has a religious affiliation in regards to Bach and Presser due to the constant recurring theme of unification. On the left side of the canvas there is a script folded in half which is used to depict the unified canon. Among this piece there is a lot of play with light and shadow which causes the three dimensional design of this canvas. There is also calligraphy written on the scroll which is the artistic signature of Elena Presser.

Variation 14, 1983: The media for this artwork consists of sterling silver wire, silk thread, handcrafted paper, pastel, nails, and pencils. On the top middle portion of this canvas there is a pentagon with a smaller pentagon inside of it coming out of the page. The words 14 variations are inscribed in this inner pentagon. The rest of the canvas consists of colorful strings stretched vertically from top to bottom, without overlapping the pentagon located on the top middle portion. However, there is another pentagon reflecting the top pentagon on the center of the canvas. This pentagon has the words Bach Variation G inscribed on it. The pentagon's represent the fifth triad which is three note chords that play simultaneously. There is both mirth and sadness evoked in this piece of artwork with the different colors of strings and notes.

Variation 15, 1983: This media of this artwork is hand crafted paper, pastel, strings, and wires. Variation 15 is from the Golden Variations produced by German composer Johann Sebastian Bach. Presser assembles various geometric shapes that has a strong affiliation with religion and music. On the center of the canvas there is a large circle with an inner square. On top of the rectangle, square and circle there is strings stretched horizontally from the left end to the right end of the canvas. These strings are created to depict a cross to represent the concept of balance. This artwork compares the Variation 9's perfection and divinity with God, especially the canon at the fifth. We also see human perfection inscribed in the shape of the pentagon, with all its five points representing the human anatomy. The pentagon, which consists of five points, also shows the infinite power and unity of humankind along with music notes canon 5 to show music's affiliation with celestial matters. Calligraphy inscribed all over the canvas is the artist's artistic signature.