Gold on blue

Gold on blue is what the Portuguese say when they want to express that something is perfect. It took Kandinsky almost 6 decades to develop his colour theory. He had to join Germany, then France, return to his native Russia escaping the war in 1914 and end up fleeing the Bolshevik revolution to join Germany again in 1922. Only then did he explain how yellow, the warmth par excellence, and blue, the coldness, manage to create maximum chromatic tension. A stroll through Lisbon’s Alfama district would have spared him the hustle and bustle.
Lisbon would not be the same without these mosaics as it would not be without the desire to sing Fado or without assuming that saudade, or Portuguese nostalgia, is not a state of mind but a way of life, just like FLAMENCO.

The Portuguese tile, a UNESCO World Heritage Site, just like FLAMENCO.

Neither the granite, nor the crisis, nor the thieves of antiques have finished with them. Lisbon tiles are once again reclaiming the limelight as vintage jewels and street art murals.

It was a quirk of fate that Anabel Veloso is the daughter of a Portuguese father and grew up in Andalusia. Oro sobre azul closes a trilogy by the Spanish-Portuguese artist, which aims to unite Flamenco and Fado on stage with ceramics from both countries as an aesthetic pretext.

It is not just another fusion, it is not about mixing, it is more a need to let the two roots, the saudade, the flameco experience, emerge from an aesthetic, sonorous and dance vision in accordance with the contemporaneity of the vital moment of her generation.