TEXT OF THE CATALOGUE. January-February, 1991


All of us who are lucky enough to share with Aurora Cañero hours of work and friendship would wish that all of the friendships we may find in the future were like hers, and that all of our colleagues would give us the opportunity of learning as much as we do with her. We are truly dealing with an important figure who reflects an enormous personality, as much in her own persona as in the sculpture that are the product of her labor.


In the artistic world, where we cannot always define or see with clarity what is presented to us, Aurora travels on her road, instilling with her work a high degree of enchantment. It is almost like the faries' path in the children's tales, where a sparkling track demands our attention.


Aurora's sculptures express their message with the same simplicity and beauty with which the sun tells us that it is rising; her work has a genuine encircling presence which speaks of the authentic dimension of almost everything.


When shapes communicate for themselves and attract the gaze of the spectator, so much that you cannot move from one piece to another without returning your gaze to its point of origin in order to recreate and see something new that attracts, pleases and amuses you, then you are in a really special exposition.


Aurora Cañero's work has a quality: it contains an extraordinary force of attraction and, from first to last, her gallery sculptures offer vou a magic spectacle of well prepared material, although there is much more in the pieces which escapes a strictly spatial occupation. It is a question of what her work contributes to the evolving pace of intellect. Each piece is a subtlely pointed story which enables you to imagine your own stories.


Aurora gives you her model and her symbols in a graceful, direct way -so much so that you immediately make them yours, and you can initiate with them a very agile dialogue in a world in which ther is no ice to cut through.


Aurora's works are richly born -her richness-and they are satisfactory because their perception is simple. They are optimistic, ironic and spontaneous. Observing them is like entering into the reality of something into which, to a certain degree, we have all at one time tried to enter.


Sculpture is, perhaps the most difficult discipline in art; for that reason, the census of sculptors is always scanty and it is rare to find a work as vast as Aurora's.


Years of craft and good work make Aurora's sculptures her best introduction card and, of courses, after seeing this exposition, we respect her even more than previously