Guillermo Lorca: My paintings refer to fairy tales; they do not lead to a wicked place, because they are not born from there

Guillermo Lorca’s latest exhibition, La casa de arena, opens at the European Museum of Modern Art in Barcelona, featuring 18 works spanning 15 years of his artistic journey. The show, housed within the historic Palacio Gomis, a 18th-century building, offers visitors a glimpse into the evolution of Lorca’s vision, blending myth, fantasy, and psychological depth. One standout piece, also titled La casa de arena, captures a haunting yet poetic scene: a tiger gazes menacingly at the viewer, its fangs bared, while a sleeping child lies nearby. A dog howls, a cat moves stealthily, and a nymph in white raises her head over a slain lamb. From below, another feline watches, and beyond, a room reveals two dogs resting on a bed. The painting, measuring 2.5 meters by 3.8 meters, is rich in detail and references, showcasing Lorca’s technical mastery. The exhibition runs until the end of September and includes seven rooms filled with works that reflect Lorca’s fascination with fragile spaces and emotional contrasts. In describing La casa de arena, the artist explains that the work embodies a space that leads both toward light and shadow. It evokes the idea of a house built from something delicate, one that might collapse but still serves as a home. This theme of fragility and transformation is central to many of the paintings on display, reflecting Lorca’s ongoing exploration of beauty, innocence, and violence coexisting within dreamlike worlds. Lorca draws inspiration from a range of historical and cultural influences, including Spanish Baroque artists such as Cellini, Japanese aesthetics, and fairy tales. His work often incorporates elements reminiscent of classical mythology, though he emphasizes that these figures are not direct copies. Instead, they emerge from a personal interpretation shaped by cinema, book illustrations, and fantasy literature. He describes them as archetypal images, half-human, half-animal beings, that mark a new symbolic phase in his career. These figures, which have long intrigued him, were finally realized after years of experimentation. Among the featured pieces is a vibrant depiction of a mermaid embraced by an octopus, hanging from the ceiling. Behind this painting, Lorca displays photographs, sketches, and design drafts that reveal the extensive preparatory work behind each composition. He acknowledges that creating such works is not simply a matter of inspiration arriving fully formed. Rather, it involves deep thought and meticulous planning, drawing from the legacy of artists like Francis Bacon and Chaïm Soutine, as well as older illustrated texts. Born to the writer and editor Beatriz García-Huidobro, Lorca grew up surrounded by books, illustrated fairy tales, and Japanese animation. He studied under the Norwegian painter Odd Nerdrum and has cited masters such as Velázquez, Rembrandt, Caravaggio, and Rubens as key influences. From Velázquez, he learned technique; from Rembrandt, the intimacy and mystery of his compositions; from Caravaggio, the power of arrangement; and from Tiepolo, the harmony of beauty and structure. Rubens, he says, inspired him with his thematic richness and overall approach to art. Lorca continues to explore the intersection of the spiritual and the tangible, using symbols imbued with emotion and meaning. He enjoys playing with the magic inherent in such imagery, drawing from the iconography of Hieronymus Bosch and the Symbolists. His work invites viewers into a world where the boundaries between reality and imagination blur, offering a space for reflection and wonder.