This monumental edition of Alice in Wonderland and Through the Looking Glass (two closely linked and complementary stories, published in 1865 and 1871 respectively) adds a myriad of subversive nuances to the classic through the transformative gaze of Pat Andrea.

In it, each volume consists of two parts. The first, which embarks us on a global reading of the universe of Lewis Carroll compared to that of Pat Andrea, offers the forty-nine paintings that the artist made expressly for this edition, with a mixed technique on stretched paper on a wooden panel, and in an original format of 150 x 180 cm. An extract from the book in Spanish and another in English illuminate each of the scenes. In turn, the second part includes, together with a series of optical enlargements of the canvases, the entire text, both in its original version and in the beautiful translation by Luis Maristany, who has managed to masterfully transform the puns and contradictions of the British author.

Lewis Carroll's double masterpiece does not belong exclusively to the world of children or adults. Yet perhaps Pat Andrea's performance is, if not the most adult, then at least the most groundbreaking to date. Alicia is the border itself, the undulating border between the norm and freedom, syntax and neologism, wakefulness and dreams, which changes without asking permission. In his literature, Carroll questions the strict logic of reason, order and morality —untouchable in a society like England in the second half of the 19th century— using the absurd as a form of rejection and rebellion against the tyranny of rationality. . As in Alice's dreamlike atmosphere, this gives rise to freedom of association of words or ideas.

Carroll's genius: making his work independent of the totalitarian law of language. The text has transcended its time and its geography: songs, images, characters and customs of its own culture outline the scenario of everyday life that is offered as a lure. Our sin: to turn Alicia and hers into a convention, to believe that we know her, that we have unraveled all her secrets.

Pat Andrea, a key figure in contemporary art, has been able to develop her own code to shape the irreverent geometry of the dream and a new polymorphic Alice, perhaps the first fractal Alice.

The atmosphere of the work —dislocated from rational logic, prone to excesses, unlimited invitation to sudden variations of scenarios—, as well as Alicia's mutability, her plasticity, stimulate Pat Andrea's art. With a great alternation of techniques -colored pencils, watercolor, hard charcoal, collages, painting with gold leaf, graphite- he represents, throughout the pages, an Alice of twelve, twenty or thirty years old, but who, in Actually, he is ageless. The fruit of three years of work, his graphic interpretation of Carroll's work is, in the words of Marc Lambron, “a personal anthology and a collective self-portrait. The painter returns to the sources of modern nonsense, provided with the signs that Alicia mysteriously lavishes».