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It’s a question of having respect for an artist who is endowed with something special, something that not everyone else has. He is such a unique creator that, through a series of resources and materials as simple as wood, canvas, plaster or pigments - which is to say, a series of eminently simple materials – he is able to achieve something truly great; a painting of the kind that immediately attracts your attention when you walk through a hall and makes you turn round. The spirit and soul of painting has been built in this manner. These paintings have a soul and a life and they say many things, because centuries of history have passed. Creators such as this are made up of people of all kinds, ranging from virtual illiterates to highly cultivated individuals. And what they have created continues to attract attention and continues to create an enterprise, as it were: an enterprise because there are many of us who are working around them, and there are many people who live off their art and live precisely for it.
She works as a restorer at the Museo del Prado, participating in major projects such as the restoration of Las Meninas in 1984, directed by John Brealey (from the Metropolitan Museum of Art) and the restoration of the Adam and Eve panels by Dürer.
Interview recorded on November 29, 2017
