Arnau Sánchez's Moody Oil Paintings Reimagine Andorra's Landscapes
Artist returns from London to exhibit atmospheric oils at Illa Carlemany until January 25, portraying Andorra's rainy, hostile yet seductive essence.
Key Points
- Captures Andorra in faded blues, greys, and constant rain, evoking hostility and seduction.
- Transforms landmarks like Hostal El Serrat into ghostly Victorian manor and Arcalís tunnel like The Road.
- Highlights overlooked spots: Massana travessia like Oxford Street, Obac road, Pas de la Casa.
- Blends hyper-realism with abstraction, echoing Antonio López and London Woolf illustrations.
Arnau Sánchez has returned to Andorra after time in London, bringing a fresh perspective on the principality's landscapes through his latest oil paintings. His exhibition, now on display at Illa Carlemany, runs until 25 January and reveals an Andorra far removed from its typical picturesque image.
Sánchez captures a moody, atmospheric version of the country, dominated by faded blues, broken whites, and shades of grey. Rain is ever-present—either falling, recently fallen, or imminent—accompanied by biting cold and a subtle hostility from the elements. Yet this Andorra retains a seductive pull, like a femme fatale, without veering into outright antagonism.
The artist emphasises that his work goes beyond mere reproduction of scenes. A landscape enthusiast, whether urban or natural, Sánchez seeks to convey "vibrations, sensations, and essence." His vision of familiar spots often diverges from others': the riverside promenade in Andorra la Vella, the old Plaça del Poble, Avinguda Sant Antoni in Massana, or the Obac road may appear transformed under his brush.
Standout pieces include the Hostal El Serrat, reimagined as a ghostly Victorian manor reminiscent of Charlotte Brontë's Thornfield Hall in *Jane Eyre*. A snow-dusted Arcalís tunnel evokes the grim desolation of Viggo Mortensen's character and son in *The Road*. Even calmer scenes carry an edge, such as the now-vanished kiosk in Plaça del Poble or rainy evenings along the Valira river, where the waterway morphs into a Seine-like flow hinting at Parisian booksellers.
Sánchez spotlights overlooked corners: the hectic travessia in Massana, buzzing with stress from queues and noise akin to London's Oxford Street; dual views of the Obac road with the Panorama complex in the distance, its harshness softened through a father's tender gaze; and glimpses of Pas de la Casa. These works echo the illustrative style of his recent London project for Trotalibros' Virginia Woolf anthology, sharing conceptual DNA despite thematic shifts.
Challenging notions of outdated figuration, Sánchez's hyper-detailed oils harbour abstraction akin to Antonio López's realism. Viewers are invited to see Andorra anew—its roads, tunnels, and villages pulsing with unseen depth.
Original Sources
This article was aggregated from the following Catalan-language sources: