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Pedro Gandía Literature. Was born on August 4, 1953, in Minglanilla, Cuenca, Spain, where he lived until he was nine years old. He studied secondary school in Cuenca, a city that marked him by awakening in him, with its Museum of Abstract Art, a taste for art, to which his friendship with Fernando Zóbel contributed. Also for Literature, pleasure that he discovered through his teacher, and also friend, Vicente Tusón. In 1972 he moved to Valencia and enrolled in the Superior Conservatory of Music and in the School of Arts and Crafts, disciplines that he later left for the studies of Philology. His literary education was marked by his stays in Paris and its museums between 1974 and 1976, as well as by his visits to Rome, Florence and London, where his pleasure in artistic creation was revived. He has been a painter (1982-1992), sculptor (1996-1999), professor of Literature, art dealer and director of the “Jade” collections, of narrative and poetry, of the Institute of Modernist Studies. Since 2016, he has re-taken the brushes to paint, on some of his old canvases, his series “Elegías”.

Pedro Gandía Literature. 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.

Pedro Gandía Literature. 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.

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Cielos Líquidos


Empecé a escribir Cielos líquidos en 1995. Quise imponerme un modo distinto de ver; de mirar, de sentir lo poético. Me resultaba tan tedioso como la vida, además de absurdo, tener que matar el precioso tiempo que nos queda con



Since he was nineteen years old, Sebastian, a self-exiled Spanish photographer in London, has been descending on time to Morocco, every three years, dragged by a strange ritual of purification and passage that he cannot quite decipher. Now, about to


La Habana y después, fragmented novel in three times and located in two continents, between the spring of 1994 and the summer of 1997, has Alex as protagonist, a traveler and cosmopolitan artist in vacations, an esthete that satisfies his


Brothel presents a radical game against the value, the archetype, the tradition but also against the expired mold of the novel. It is an exercise of style, of transgression to find the right phrase, winking to Poe, to Rimbaud, to

Album de versos antiguos


Tras una dramática crisis interior, una noche tempestuosa de primeros de octubre de 1892 en Génova, el joven Paul Valéry (Sète 1841 – París1945), en vísperas de cumplir 21 años, renunciará a la literatura para consagrarse a la vida del

Poemas en prosa


El poeta, narrador y ensayista, Tahar Ben Jelloun (Fez, 1944), afincado en París desde finales de 1971, que se hizo célebre por El niño de arena (1985) y su continuación, La noche sagrada (1987), novela galardonada con el Premio Goncourt,

Jean Genet, mentiroso sublime


El poeta, narrador y ensayista, Tahar Ben Jelloun (Fez, 1944), afincado en París desde finales de 1971, que se hizo célebre por El niño de arena (1985) y su continuación, La noche sagrada (1987), novela galardonada con el Premio Goncourt,

Estrella de oro


The Golden Star, as an allegorical landscape, marks and illuminates a new way of searching for the perfect ―the circle and gold, that closest to perfection―. The syncretism of cultures and languages ―as opposed to the Language, fascist in itself,

Las quimeras y otros poemas


«INICIADO”, “Vestal”, “Hijo del Fuego”. Así gustaba llamarse Gérard de Nerval (París, 1808-1855), el poeta más puro y moderno del Romanticismo francés, precursor del Simbolismo junto con Baudelaire y el antecesor más profundo del Surrealismo, siempre adelantado a Breton.


One writes with the language of one’s desire. For a Francophone, I wrote these poems in French, in three different cities of the Maghreb el-Aksa, in front of the Atlantic Ocean, during August and September 1993. In 1997, I translated

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