05.01.2026 — In Primordial Light 26, each audiovisual tableau has been constructed as a digital altarpiece

In Llum primigènia 26, each audiovisual tableau has been constructed as a digital altarpiece.

The piece stems from a deeply rooted popular myth —Saint George, the Maiden and the Dragon— and revisits it by embracing its visual weight, its frontal quality and its symbolic force. The aesthetic deliberately approaches the altarpiece, the devotional image, the liturgical postcard, or even the kind of “holy card” that retains a direct connection with popular memory. This proximity seeks to bring that imagery into a contemporary, digital and scenic language.

The process often begins with a note, a drawing or a storyboard structure. From that first gesture, each scene develops through a layered composition: architectures, figures, textures, landscape fragments, lights, smoke, roses, skies and veils are arranged in depth until a scenic space is built. In some cases, each tableau includes dozens of independent elements, worked one by one so that the final image has unity and internal breath.

The following plates show this journey: the original image or first sketch, the intermediate stages of composition, and the final result within the film. What appears on screen is the result of a process of selection, cutting, editing, layering, correction, animation and adjustment, until each scene finds its own weight.

This process was especially important in an installation conceived for the central nave of the Sagrada Família. The vertical screen had to act as an ephemeral visual architecture integrated into the temple. For this reason, the background spaces, the scenographies and the relationship with the verticality of the basilica became essential parts of the composition.

Each tableau in Primordial Light 26 is a constructed scene. An image that slowly evolves. A digital altarpiece made of space, time and light.