/ Luis Moro

Caen las hojas doradas sobre las fuentes de Fremin y Thierry… Recuerdo sus líquenes cubriendo el
metal, abriéndose paso sobre un extinto barniz dorado.
La piel de plomo Xoloitzcuíntlica evoca a ese encuentro de dos mundos; las arrugas del tiempo en su paso por el inframundo, esos lupus recorriendo los salones versallescos del Duque de Anjou.
Patinados por el oro de palacio en su deseo de glorificarlos, acercándose al “Rey Sol” en un espléndido caballo blanco.

The golden leaves fall on the Fremin and Thierry fountains … I remember their lichens covering the
metal, working its way over an extinct gold varnish.
The Xoloitzcuintic’s lead skin evokes that meeting of two worlds; the wrinkles of time in its passage through the underworld, those lupus running through the Versailles halls of the Duke of Anjou.
Glided by the palace gold in its desire to glorify them, approaching the “Sun King” on a splendid white horse.

The dry branches serve as a home for bronze snails that climb toward golden ones, recovering the shine that the layer of patina left frozen in the time of the hippocampus.
The rusty cage sways slightly to the song of the bird, who watches a plane glide
towards infinity.

A few water droplets fall from the sky into the pond of transparent fish and carp, in an interactive evolution that the young monarch left rendering for his animated illusion. It is a canvas in augmented reality, where the Kinect of dreams transforms the white doves into shadows who inhabited the palace, now in ruins, forgotten in time, left to the fate of the Aztec gods. Turned into golden dreams of lead.
Interactions: The animated garden is a trilogy where pictorial works inspired by the Reflex series converge; Xolochairs and an interactive Microcosm.
In The Animated Garden, there is an encounter between Moro’s animal world and mythology; immanent and unforgettable, like the gold that illuminates the pieces of it. Aquatic vertebrates
and arthropods defined by their own corporeity, hippocampi, and Xoloitzcuintles, portrayed in his stay in Mexico, merge with sculptures and pieces in bronze, inspired by his period in Rome and his walks through the baroque gardens of the Granja de San Ildefonso.

Creatures and landscapes illuminated with a golden mantle, which shines from the rising sun; taking on another dimension through augmented reality, as an allegory of life, permanence, conservation, and continuity of the species.