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Key word: “tensegrity”. A structural property, thanks to which, groups of objects in compression within a system of continuous tension, airplane parts, boat parts, amusement park rides, seem to explode in all directions, while seemingly suspended by a sort of collective impulse. Then there’s Nancy Rubins, artist from Texas capable of transforming found objects and industrial refuse in smartly orchestrated abstractions, permeated by an expressive fluidity, as the artist herself states, “I’m interested in balance, engineering, dynamic tension, the energy of objects.” Diversifolia, her latest exhibition of sculpture and design - as well as the artist’s first personal show in London - on display at the Gagosian Gallery, gets its name from the term used to indicate a plant species with a rich variety of leaves. In fact, her sculptures, while lacking actual leaves, are similar to a colourful bouquet composed of the most varied of subjects, from storks to giraffes, from crocodiles to wolves, created with cast iron, bronze, brass and aluminium. Through her tentacled sculptures, the drawings on graphite, the strips of burned paper rising up from the floor, the artist suggests her continuum between chaos, the chill of modernism and the vitality of biological, organic forms.