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The title of the series derives from one of the many conversations in which Jorge Luis Borges, a lover of walks and strolls through streets, parks, and gardens, in those conversations he intended to stop, listen carefully, and be able to distinguish between noise and chaos. of the city, the voices and songs of the birds, and so, following the voices of the birds, he reached the parks and gardens as if the breadcrumbs were left to him by the birds themselves and they assured him that this was the case. In these parks and gardens, it was possible to find all the buried voices and songs, whether seeds or diamonds. With this series, I imagine Borges trying to place his own gaze on the blurry image that was represented before him, the distant lights of the city, its advertisements and reflections, the silhouettes and its expressive silences, trying to exchange sounds for shapes, bird songs like lights.
To the question of Korean philosopher Byung-Chul Han: Is it possible in this era of digitalization to look at nature again, to fill it with romanticism? I resort to this image by Borges, insisting on looking, observing, and seeing, the Khloris series is a metaphor for the beginning, of the first look at Eden, it is an attempt to meet again in that expressive silence of light where the first time we exchange forms From the wish.

Kloris Series

Mexican Ryōan-ji Series

Ryōan-ji is the Japanese Zen temple in Kyoto, a monastery that gave rise to the idea of ​​the purely abstract Zen garden that inspired this series Francisco Larios’ works are done by hand with hundreds of layers of gold leaf. The artist’s goal is to allow the work to age along with the collector, which is why some works will appear unbalanced in color. Parts of the work will have different tones, burnish spots, or small, soft cracks.




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Francisco Larios lives and works in Monterrey, Nuevo León. He studied design and specialized in Art History at Universidad La Salle, Laguna.

Larios participated at the XII Bienal “Rufino Tamayo” and Bienal FEMSA, Mexico City, Mexico; VII Bienal de Cuenca, Ecuador, and was awarded the Prize for Painting Acquisition Reseña de la Plástica de Nuevo León. His work belongs to public and private collections such as the Museum of Contemporary Art de San Diego, California; Museum of Fine Arts de Houston, Texas; USA, Colección FEMSA, Museo de Arte Contemporáneo de Monterrey (MARCO), Monterrey, México; Museo Rufino Tamayo, Museo Carrillo Gil and Museo de Arte Moderno, Mexico City, Mexico.

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