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Fils" (Rennes 1970) returning to Mexico to see a colonial building in which Architect Legorreta wants to have "Sheila" wall; to Tangiers, to India.
Her indefatigable searches bring her knowledge empirical and theoretical of the historical past from which she chooses combinations from a rich repertory of ideas. She is also open to search and research her own past. She always has one or two dozen odd, very odd things, hanging around which "I keep through the years for one reason or another -- ideas I want to go on with -- or half-successful or fragments of good possibilities." She ardently pursues and disciplines both the themes and the techniques that appear and reappear in her work so that these emerge as evolutions of her won creativity. In the work of an artist like Sheila, the "mistakes," the half-finished, the preliminary sketches are not without interest to those of us who would fully understand her development.  
She is a consummate artist who has a special kinship with human and esthetic ties -- an artist who has the specific power to liberate her ideas and give them bodily form.