Cornucopia

By accident and because of the clumsiness of some of the gods of the Olympus, Zeus broke one of the Amaltea goat's horns. This goat had raised him by feeding him with its own milk. As a compensation, whoever had that horn could ask for anything they wanted, and it started being named as "Cornucopia" or the horn of abundance. The shields of many countries and provinces, such as Colombia, Venezuela, Perú, Mendoza and Querétaro in México, still display nowadays the cornucopias that spill fruits, flowers and golden coins, as a symbol of fertility on their lands. Liliana Golubinsky's pieces are as fertile and abundant as the cornucopias. We can find plenty of characters and situations in her paintings, benches and chair upholsterers or manikin dresses; such as the ones we can find in Pieter Brueghel's paintings, which are inhabited by children, countrymen, hunters, kings and minstrels. In the same way, Liliana can make Superman coexist with Little Red Riding Hood, or intimate sumo wrestlers with cyclops. She takes a risk by ironizing with intellectual and funny quotes, such as a male version of the Ofelia, drawing in an inundation. She also does warn us about the confusion so much abundance may provoke. The four manikins that accompany her paintings do not hold any heads, but instead wool skeins that had been tangled between them. Please do cast the first stone those whom not have been jumbled by its own thoughts. We can also find folding screens, one of them with images of Chinese characters, which Liliana baptized as "mandarinas" in order to feminize the mandarin Chinese. The paintings have multiple languages and stories. They have abstraction, figuration, wholesome and emptiness. They dance as the Babel Tower, but with a very clear yet secret message: regardless of the tangle, we can always find the thread that helps us overcome the reigning confusion.