Tityus, Ixion, Sisyphus and Tantalus endure the onslaught of a ferocious and unceasing storm.
The punishment of the gods is for ever and is irreversible, there is a message of
"un-redemption" in that series of paintings which I believe
is toned down in the religious paintings because with Catholic belief, which is what Ribera
primarily devoted himself to, there exists the possibility of penitence and pardon.
So from there we've created "The Pardon and the Fury", a police thriller
with a backdrop of Ribera.
I trained as an illustrator primarily by reading a lot of comics, seeing a lot of films
and if there is one painter I looked at a lot, it's Goya.
I have to admit that I only had a fairly vague idea of Ribera so I had
to rediscover him and the fact is I was really amazed, precisely for that
treatment of light which has always interested me in my illustration work.
That very harsh black and white, a very harsh light that brings the figures out from a black background
and presents them in a very Expressionist manner, as a reflection of suffering,
the faces, but the light…very, very important.
In the beginning was the word, so before the illustrator begins messing about
with his pencil and starts the first preliminary sketches there has to be
a relatively developed project. After doing the research, submerging myself rather in the world of Ribera,
of Naples in the first half of the 17th century where he lived, I presented a summary
of five or six pages in which the plot line was already clearly developed.
I always use the same example as I believe that it explains things very well, which is that
if I was a pianist playing a piece, I have to bring the emotions, the force,
whatever, but I would still be interpreting a piece of music.
For me, the illustration is always at the service of the story, not the other way round.
For the illustrator the story must always be the only reference point and the only thing
he should really look at and make use of.
They said that Ribera was a painter who conveyed the emotions of the characters
he painted so well that they were contagious, what I mean is, if you spend time
close to or looking at Ribera's paintings you will not only be able to empathise with the figure
but also share many of these feelings.
This was precisely about allowing oneself to be infected. In the creation of this graphic project
"The Pardon and the Fury", everything has been dominated by that presence of Ribera's two Furies.
By those faces, those gazes, even those bodies. We have a character who
goes through the book almost naked, so I made the effort to ensure that the bodies
had a Ribera-like quality to them, even that they gradually moved from being a flatter thing
to increasingly tortured, even with dirtier shadows, again in order to reflect the fact
that the character is in some way becoming Ribera'd, which also had to be represented graphically.
I've also found myself trapped in that suffocating tower. A prisoner
like the main character. He starts becoming Ribera and so do I to some extent,
turning him into him and also turning me into myself.
It's been a very intense experience in all senses.
"Be careful, these images are catching",
and what we hope is that we have conveyed our evident admiration
for the work of Ribera and that the reader also ends up infected,
contaminated by the spirit of Ribera.
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