The New Yorker, 21 marzo 2022.

Ana Juan, gran artista, valenciana de nacimiento…

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Su última portada del New Yorker es muy bella. Sus palabras ayudan a comprender cuestiones de fondo sobre la guerra, la creación, el arte…

How did you choose which medium to use for this cover?

I tried to keep things somewhat rough. I used charcoal and acrylic colors to convey the feeling of being on the front line. I looked at contemporary photos, of course, but also at images from the First and Second World Wars to capture the atmosphere: the soldier’s attitude, people escaping, and the bombed-out ruins in the background.

There are so many terrible images coming out of this invasion. How did you choose the focus for your cover?

I kept thinking about a mother’s hands. When you are lost and you don’t have the words to understand the world, a mother’s hands are your shelter. It can also be the hands of a relative or, as happens during a war, the hands of a stranger.

With so many tragic events in the news, is there anything that brings you hope?

Unfortunately, I haven’t been able to find much hope recently. covid-19; the assault on the Capitol; Afghanistan; a volcano erupting on La Palma, here in Spain; and now we are at war in Europe—these are all things that we thought couldn’t happen. Anyway, I do try to believe in a better future. New Yorker, Ana Juan’s “Motherland”.

Las negritas son mías.

Ménilmontant … street art homenaje a la resistencia heroica de la Isla de las Serpientes, en Ucrania.

Ucrania, la guerra … Zelenski recuerda su puesto en la historia de Europa, la historia de la guerra, la historia del arte, la cultura.

Ucrania.

Arte.

Cultura (s).

Europa (s).