“Orodé’s practice lies at the intersection of what we might broadly consider two historical forms of mosaic, the opus sectile and the trencadìs.
Already used in ancient times with a moment of great fortune in 16th-century Florence during Medici’s reign, the opus-sectile is characterised by an orderly and well-calculated arrangement of thin marble slabs, shaped to meet the specific formal and chromatic requirements of the composition and well-suited to one another.
The second, which emerged in the wake of Catalan modernism and the decorations of the external walls in Antoni Gaudì’s architecture, sees, on the other hand, personal use of ceramic fragments, broken at best.
The oxymoron between spontaneous gesture and control, speed and pauses, rigour and formlessness, which connotes Orodè’s research on a technical and processual level, also embodies, with admirable adherence between form and content, the emotional temperatures of the subjects represented.”
