UT PINTURA POESIS (HORATIUS)
If poetry was painting for Simonides of Ceos, and poetry was a talking image, it is fascinating to study the painted images (mute verses) of the poet-painter. The case is not uncommon; all knowledge tends by synthesis towards its visualization, and there are many splendid examples throughout history: Salvador Rosa, Goethe, García Lorca, William Blake, Moreno Villa …
Being the image, by definition, a set of forms and figures endowed with unity and signification, Pedro Gandía composes the images of his abstraction harmonizing forms and figures that could be said belonging to the color itself: each color seems to have its own body, skin and movement, as something inseparable from their pigmented reality.
The colors weigh, glide, embrace or become almost weightless waving its profile, as a sendal, to the impulse of an even lighter pigment; they interpret a slow dance, a movement always related to the musical that remembers “stagings” of settecentists’ operas (perhaps Bibiena?); studies for a parsimonious and cyclopean choreography.
The poet directs here the splendid music of Pedro Gandía’s verses.
Carlos Forns Bada, Madrid, 1983
Landscapes of vigorous gesture and nudes that evoke a heroic romanticism form two parallel series in the work of Pedro Gandía.
Fernando Huici, EL PAIS, June 6, 1986