Jose Carlos Soto

After the delay caused by some external incidents, I open this entry to download the new issue of Carpa, Carpa 1408. As I have already commented in previous posts, it is dedicated, in a monographic form, to presenting the work done by Amparo and Teresa for the catalog of the first spring, after the victory, of Candelaria Comas Beltran.

As always, it is better to let Analia herself present the volume from its introduction:

During our editorial work on Carpa 3098 and, as she told me, influenced by the work environment, Consuelo decided to present me with a first draft of what this number of Carpa should be like. As we have commented on more than one occasion, practically, it would be dedicated, in its entirety, to the sessions that Amparo and Teresa carried out for Candelaria Comas Beltran and her Catalog for the first spring of that year.
As demonstrated in edition 3098, its realization can be considered an endless party and freed from the corset imposed by Amparo's folder, Paquita, Dorita and Consuelo let go of their moorings to be able to express all their creativity. Therefore, I had come to the conclusion that this second part of the final issue should forget the aesthetics of the rest of the series and recreate the sketches that our two friends made, not only to prepare the photo sessions but also the previous designs that They presented Candelaria for their catalogue. These editions, aimed at professionals, usually consisted of two very different parts, the second of which included all the information that future clients of the models included in that station might need and the first, intended to visually subdue these buyers, was designed by artists, personally selected by Candelaria, who knew how to achieve and capture what the designer herself imagined.
After studying for weeks the material that Amparo had filed in her trunk, she came to the conclusion that she could almost completely recreate the work of the two artists and the catalog that should have appeared at the time. Consuelo had planned to publish this Carpa 1408, shortly before the opening of the great exhibition, dedicated to Amparo's photographic work, as the perfect complement to said exhibition, highlighting an unknown facet of the artist that would be hopelessly buried by the rest of his work.
Consuelo's project did not allow discussion and she would have given immediate approval even before beginning to review the first section. Unfortunately, it was not up to me to give the go-ahead. When we received authorization to make all these issues dedicated to studying Amparo's folder and trunk, one of the impositions of our main quaestor was to respect at all times the layout and design that the old rifle had originally conceived. When we really discovered who she was, these provisions became much more rigid and prevented us from deviating from the line set by the artist although, it is true, we had never noticed that need because we all felt very comfortable respecting and disseminating her work.
Before discouragement spread in the editorial office over my response, I promised to prepare a special memorandum to request approval to publish this Carpa 1408 under Consuelo's new aesthetic guidelines.

Although the publication of this issue as Consuelo had planned was quite uncertain, I gave orders to the editorial team to start working on it immediately if we wanted it to arrive in time for the opening of the exhibition. Meanwhile, I began to prepare a request to our mandate to receive its authorization based on the proximity of the retrospective and sketching a subissue of the final series that, before its closure, would focus on the part of the folder that we originally planned to include. . Thus we would publish this issue coinciding with the great exhibition as a large special volume and just for its closure, Carpa 1308 would appear almost as an epilogue to 1408 and we would respect the initial provisions.
In the past, the success of our editions and the hard work done by all of us had allowed us to publish Paquita's personal project and expand the final issue into three parts. I was not very clear at that moment if it would continue to be enough, but the quality of Consuelo's work and that of her two colleagues was worth the effort that we would have to face.
Julia Balsameda Garcia, our main inspector, was in charge of receiving the proposal. Although we had addressed some of her personal requests in the past, she had never fully integrated into our team when we worked on them. The crazy cage can sometimes be a bit disconcerting at first and when it came time for the meeting I assumed that these invisible barriers would be our biggest obstacle.
The exhibition will be developedroll without incident and at the end of it, Julia only asked one question.
-And you say that it is Consuelo's personal project?
-Yes, and, of course, it has my full support and that of the editorial staff.
Smiling, he handed me a small labarta skin case.
-Consider it my wedding gift, here, open it, I know you both like these types of details.
The little box contained two pairs of white gloves...

And after its introduction, some of the last pages made: