Nicolás Leiva. El séptimo día, 2006. Instalación en Iglesia de San Giuseppe.
Like poet’s prose, the sculptures of painters trigger an ineluctable caveat. Often they are awkward colonizations of three dimensional space by images whose natural habitat is the pictorial mind. This is not the case with Nicolas Leiva’s ceramic structures, in which a new dialogue emerges between the painted beings, patterns, and symbols, and formally conceived space on which they take life.
