Laura Nillni

Born in 1961 in Buenos Aires, Argentina, has lived and worked in France since 1987

Staved Shadows – Paris, March 2002

The history of her native country,Argentina, has left its mark on Laura Nillni, but she decided to focus on color and music, erasing from her inspiration the tragedies of history, and highlighting instead a theater of the soul that revels in tonal harmonies and the subtle shades of existence.

However, the titles of the videos that she makes with her husband, Ricardo Nillni, allude to subjects still close to her heart: Portées disparues (Lost Staves), Le Mal qui foudroie en plein Bonheur (The Evil that Strikes in the Midst of Happiness).
Translated from German, Nagelkopf, Laura’s German maiden name, means “head of a nail”. Nails run in her blood. She may have adopted her husband’s Italian-sounding name as a pseudonym, but she uses memories to compose a pictorial genealogy, with nails replacing musical notes.

The staved shadows impart rhythm to her SenzaTempo.

Ranging from pastel tones to vivid colors, or from semitones to assertive color, Nillni’s Musical Boxes and Senza Tempo can be rearranged at will in different orders. A colorist at heart, Nillni wields the chromatic palette with the vir tuosity of an ar tist who uses color as an intrinsic form of expression. Like precious instruments, her sculptures leave their frames to stand out against the wall, imaginar y notes of a hither to-unknown pictorial symphony.

Nillni’s wall sculptures draw their inspiration straight from music.

Her works have the lightness of musical scores which she mounts on wood chosen for the way in which its veins relate to the ver y specific cur ves of violins, guitars and pianos.

She then knocks nails into this sheet music, paints, draws on it, adds twigs or string. Into her sculptures she sometimes incorporates trees whose branches seem to sing. As a result of her shadowy staves, a new language gradually emanates from the musical score.

Duo and Trio are linked by string that one’s gaze sweeps over as softly as playing a guitar. One would like to blow into her boxes to hear the sound that might come out. The Staved Shadows appear on the score, growing larger with the light, to form a constantly changing calligraphy.

Laura Nillni oh so subtly invents a pictorial musical universe. With her tiny rectan- gles, entitled Senza Tempo, she lays out a genuine symphonic pathway adaptable to ever yone’s individual imagination.

Lélia Mordoch

The Bosses of the Box – Paris, June 2009

Take a cube
It has six sides
Open it
Now you have six squares
Six squares and eleven positions Masters of the cube
Put a figure inside it
Wedge it in tight otherwise it’ll fall Dress it in a suit
Give it a phone
Now it’s ready
It’s in the box
The boss of the box
Or how to move from geometrical to figurative art
While remaining in conceptual art?
Put life into death
Organic into mineral
Animal into concrete
Human into boxes
Speech into silence.
Then you’ll just have to fold it up And there you are,
the company boss Ready for use.

Lélia Mordoch