Plots from the labyrinth: Dialogue with Beatriz Oggero and Orlando Alandia himself, about his work

With: Beatriz Oggero and Juan Pablo Torres Muñiz
Bea invites. I follow her, always with pleasure. Now, away from the garden. Paths.
Let’s go, more coffee…
By way of introduction,s he tells me a few years ago in a conversation, an Italian architect who specialized in the quatroccento said something that I always remember: “Beatrice, art became textile when it  left the wall and went to the canvas…”
And yet  I allow
 in the proper representation of robes, special fabrics, dressed in embroidery, in texture, a permanent evocation…

I have often been struck by the passion of some painters (and not minors) for representing the tissues. I remember how, after being totally shaken by Goya’s Fusilamientos in the Prado Museum, I stared at the detailed velvet brocade cloak in the
portrait of Doña Isabel de Francia, a caballo, by Velázquez, in another room.
And there are the paintings of Holbein; even served to name a style of carpets. The list is long, and in modern times the famous versions of Paul Cèzanne on Mount Saint Victoire are of great interest, in which the painter lets the canvas also participate in the work…

The hand opens.
Walking between the images… My dear Beatriz Oggero gives the name. Orlando Alandia. Architect, graduated in Italy. Before us, labyrinths; Enigma and revelation of the minotaur. Exploration that the artist repeats, deepens.



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