The Princess and Her Garden

(…) Lisbeth Ledo García has proved she is a vital creator with her own poetics, which still operates with children iconography, although now confirmed as a consistent and deliberate discursive and aesthetic bet, mature enough to reject the coincidence of being a belated Peter Pan syndrome. Therefore, when populating her surfaces with rabbits, vixens or wolves, princesses, sheep or butterflies, she banishes illustrative formalisms and settles on the conceptual densities these symbols have, so as to transform them into provocative allegories indebted with the visceral sincerity characterizing child psychology: a ludic and imaginative mythopoetic with which she makes problematic what she considers her vital concerns.
As is the case with so much symbolic production created in Cuba in this century, Lisbeth Ledo inscribes her speech in a philosophical and ethic attitude committed to the existential drama of the individual, more than in explicitly critical positions depending on the historical fate of the nation and, therefore, of social heroicalness. (…)