New York


Salvatore Ala Gallery

If we make a distinction between an art of material and an art of image, then what Leoncillo offers us is the ideal convergence of these separate modes. This merger results in sculpture wholly beyond the pale—mythical but without a collective context to justify it, and spontaneous, without a self to which the impulsiveness belongs. Leoncillo’s images seem to rise spontaneously out of material, and at at the same time, material appears as unfocused, inchoate image. Some of these objects suggest the pillar of salt into which Lot’s wife was transformed as she turned back to witness God’s destruction of Sodom and Gomorrah, and others seem like the magma of His wrath. These are forbidding objects, at once infernal and divine. Amorphousness has been made high material art without need of imagistic specificity to make itself felt.

Made of terra-cotta, enamels, and engobe, these “informal sculptures”

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