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One of the most difficult tasks of an artist has been, and still is, evoluting without losing his or her identity. Federico Miró’s work proves that, using curiosity and coherence as allies, this endeavour might succeed.

In ‘La verdad es otra’, Willen de Pannemaker’s tapestries of the Flemish Renaissance have been used as a starting point to create a series of works where adulterated perspectives, the communion between architecture and nature or the integration of traditional genres of painting live and co-habit in a universe ad hocdesigned. There, religious, mythological references or the …