"I hung the picture on the back wall of the tunnel, but it was difficult to see. The light of the tunnel was strange. As part of the wall had fallen down, the only light came from above. The wall was backlit. In fact, you couldn't see the entire floor of the tunnel even if you looked straight at it. I mean, you could not see the details. So I decided to paint my canvas bigger, directly on the wall. The mural and the canvas would duplicate the same image, like a mirror. But it was difficult to work on the wall. It kept crumbling. It fell apart when touched, but wouldn't collapse because of the plant roots in the hillside. They both pushed the wall inward and held it together. I had to paint the wall very carefully with spray paint. I chose colors similar to those I found in the tunnel: the orange of the rusted, abandoned metal and the dark blue, almost black, of the sky. The door dissolved into the ground and I didn't want to interfere with that. I painted the mural as fast as I could because my hands were freezing. Everything around me was frozen. I enjoyed the thought of this danger. The visitors would eventually freeze if they stayed here too long. It would be a matter of time. So I just had to keep people here. I painted branches and stems surrounding the hollow center of the wall. The hole was not liquid, as the canvas was, but a blind spot. It was backlit, inviting people to approach and watch. But people would hesitate because of the black. I loved the transparent black in the mural. It warns of the painting's true nature. It is made of shadows. But where do those shadows come from? The other side of the wall? At your back? the mural is attractive and revolting at once. Despite this, I have to admit that the painting is far from perfect. This is another warning, probably the last and the most important one: I don't care about the mural. I only care about the story. Do you think that tunnel is a dangerous place? I would say that what is dangerous is the story that surrounds it. Maybe that's how Medusa keeps her victims, by telling stories."

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so does the stone by Ángela Sánchez de Vera is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 3.0 Unported License.