“Unconscious scanning” of inner process to isolate elements that can be consciously integrated into an illusion of structure—Llona’s ghost structures. In Llona’s drawings, we seem to see the unconscious scanning in action, without any definitive emergence of structure. The drawings abound in isolated elements loosely integrated—metonymically related—but with a potentially metaphoric relationship. This is especially so in El Dia Siguiente, Dos Personajes y Una Idea, and Encuentro Detras de los Espejos II (All of 1985), as well as an untitled work of 1984. Their combination of serially alined and interlocking elements, and the sense that they are dispersed that consolidated, mutes structure just as it seems to be emerging, yet also seems to envision an unconscious relationship between the elements. In general, Llona offers us an uncanny mix of elements that do and do not add up to this structure—that dialectically articulate the potential for for the structure, or its elusive actuality. It is this sense of ambiguous metaphoric structure, or structure which is unstable and restless because it seems in eternal process, that communicates temporarily, generates a sense of duration.

In Llona, the dialect of process and structure seems to work macrocosmically over the series of drawings—each drawing being a moment of process within a larger narrative about the ebb and flow of time—and microcosmically within each drawing, each work showing within itself the ebb of process into structure and the unrestrainable flow of process, breaking the boundaries of every structure it purposes. The articulation of structure is always half hearted in Llona, for all the magical fullblowness of some of the structures. Structure in these drawing is like a bubble with a more or less limited life—a linear bubble that seems at any and every moment about to be reabsorbed in the painterly process. This is what gives these works their dynamic, as well as their ora of intimacy, for they seem to articulate a paradoxical temporal flow.