In truth, however, the work is extremely cohesive, often based on the artist's desire to transform raw material, whether that transformation be somewhat trivial (water that turns into steam, or ice - recurrent operations in her work) or, on the contrary, somewhat surprising (marble transformed into extremely fine, almost ethereal powder: Máquina do mundo, 2006), or, otherwise, unusual (the apples subjected to a slow and highly-scented decomposition: Ainda viva, 2007). The wide variety of materials used by Laura Vinci in her installations could be seen as an indication of an artistic path marked by sudden interruptions and frequent changes in course. This gradual evolution towards large-scale production is perfectly logical when considering that, since the beginning, what led the artist to three-dimensional work was the desire to interact with the space in a profound manner. Having abandoned painting back in the 1980s, Laura Vinci has dedicated her work exclusively to sculpture and, since 1995, installations.
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