Andorran Artist Pere Moles Launches VERGE 50 Collection for Meritxell Sanctuary's 50th Anniversary
The self-funded series bridges Andorra's traditional iconography with modern materials like lichen, expanding from a monumental lichen installation into diverse paintings and prints at the Santuari de Meritxell.
Key Points
- Pere Moles created 50 unique works reinterpreting the Virgin of Meritxell to mark the 1976 sanctuary inauguration.
- Centerpiece is a 225x160cm installation made from preserved lichen from Sweden and Norway, treated with marine salts and pigments.
- Works use painting, graphics, prints, and mixed media; self-funded project available for purchase via digital catalogue.
- Installation integrates with Ricard Bofill-designed sanctuary using freestanding structure, vegetation, and custom lighting.
Andorran visual artist Pere Moles has launched VERGE 50, a collection of 50 unique, numbered works reinterpreting the Virgin of Meritxell to mark the 50th anniversary of the sanctuary's inauguration on 8 September 1976.
Designed by architect Ricard Bofill, the modern Santuari de Meritxell provides the backdrop for the project's centerpiece: a monumental installation titled VERGE 50 - 01, measuring 225 by 160 centimetres. Crafted from preserved Cladonia stellaris lichen sourced by hand from forests in Sweden and Norway, the piece undergoes treatment with marine salts and water-based pigments to retain its texture, volume, and colour. Moles explains that Meritxell is embedded in Andorra's collective imagination, and this work bridges traditional iconography with contemporary language and materials.
The installation fits seamlessly into the sanctuary's architecture through a freestanding structure, added vegetation, and custom lighting that avoids any direct alterations to the building. From this anchor piece, the series expands into diverse interpretations using techniques such as painting, graphics, prints, and mixed media, ranging from large-scale unique paintings to smaller graphic editions.
A personal initiative funded and produced entirely by Moles, the project received no institutional commission. All 50 works are available for purchase via a digital catalogue detailing their specifications, sizes, and availability.
"Works start in the studio but eventually belong to everyone who pauses to view, photograph, and interpret them," Moles said.
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