Several sculptures by Laura Lio rival or, better said, are in line with the architecture of the birds. This is especially true of those that take the form of nests or colonies of nests, through whose galleries our imagination enters to pay attention to an equivalent of the “busy noise” to which Jorge Luis Borges alludes in El Aleph, since it is certain that it exists among the birds. The set of three large sculptures, confined – like honeycombs – with hexagons, also competes with animal architecture, to protect and shelter. But Laura Lio discards the benefit of the shell when the model of her sculpture is human architecture, as in the house crossed by the tree.
“In the drawings of leaves on large papers, there are offerings rather than drawings. One is fleshy, the other fragile. One vibrates, the other trembles; both are revealing. The sheet of paper strives in both to completely cover the vegetable leaf, and it succeeds. With the song of a blackbird, the offering would, if possible, be even more exalted.“
Javier Arnaldo
