"Leoncillo thought in ceramic, but in a most selective way; like Michelangelo he thought in marble, accepting the possibilities inherent to the technical process and to its external qualities as a structure of vision. [...] There was a period [...] in which he succeeded in fusing ineffable pictorial subtleties into his ceramics. During this period he wanted to sculpt the air, and in a - as he claimed- vague, but simultaneously perfectly precise way, he pursued this idea as one controls a kite far above in the sky, with only a string. Leoncillo never let go of this string."
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