|
 'La
Tirana' was a way of bringing together painting and flamenco dance. I love Goya,
and I wanted to link him in some way with flamenco. I think that Goya was a painter
who, despite the fact that he wasn't Andalucian and didn't live in the flamenco
era, showed many characteristics in his paintings that are linked with flamenco.
The contrast, the black and white, the way he deals with colour... are all things
that are very close to flamenco. Also, the way in which Goya was so popular but
at the same time a painter for the royal family. In that sense it is similar to
the way in which flamenco is popular and yet retains a special elegance... which
makes it as exclusive at the same time as popular. I also think that Goya was
revolutionary in his time in terms of the way he painted, in the same way as flamenco
has always been, through its popular appeal, a way of being revolutionary or of
protesting. It seems that flamenco can tell a story, just as Goya can illustrate
the terrors of war through his art. And Goya can produce his Caprichos with an
irony just as bitter as that of a bulería. I always see flamenco expressions
in the faces that he painted. I felt that there was such a close relationship
that I could not avoid creating something. I had to use the work of Goya as a
pretext and it was a story based in the Museo del Prado in which the security
guard, who is at the same time Goya, looks after his painting and the woman he
loves. Goya and the things that I like were the reason for that work. |
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