"Lidó Rico suffers and, as in his paradoxical imaginary, he enjoys building his own body, his process has a little bit of performance or action painting.(45) What we ha ve isn’t the remaining, and nor the process is something unessential, on the contrary, immersion and the final sculptural body, the act of getting into plaster and the figure coming out of the wall are, in all senses, the same work of art.
"In Lidó Rico’s work, there is some kind of initial transfiguration through the dip in the body. This human twister of gesturing bodies is brilliantly located in the exhibition place to raise the voyeuristic impulse. In some way, this artist gives a voice to what cannot be thought.(49) His plastic shade starts from the maximum harshness of the enigmatic and subtle, so if he uncovers his feelings, he also protects what we call intimacy. 'A guideline -lidó Rico writes- that I have always maintained in my Life is the shelter in the strictest intimacy that for me is as necessary as breathing.' He is sure that from intimacy, he can get wherever he wants.(51) From contemporary ruins, a strange intimacy emerges: “Intimacy is what remains of the community broken by the city. Remains, Residues, Fragments, Rags, Pieces, Dispersed.”(52) It is the familiarity with the fallen, in a period when we all trace an insurmountable barrier with the excluded. When we talk about intimacy, a fortified subjectivity or a conservative ideology of property mustn’t appear: “Intirnacy isn’t the new prison. Its need for bonds will create, Later on, another politic. Nowadays, psychic life knows that it will just be salved if thcre is time and space for uprisings: breaking, remembering, doing.
An excerpt from an essay by Fernando Castro Florez. via Lido's Behance.