Amelia Arenas is a cultural cyclone. Her overwhelming dynamism, her contagious enthusiasm and, above all, her sweeping passion for the brilliant educational work she does, makes her an exceptional collaborator with whom, I strongly believe, it is possible to build a better world.

Bernardo Laniado-Romero, Director, Museu Picasso, Barcelona. Former Director, Museo Picasso Malaga. 


When I read the first piece Amelia submitted to us, I felt like I had somehow re-discovered a new land. Here was someone as familiar with Plato as she was with Rauschenberg. And not just familiar. For her they coexisted, one impinged on the other. Only the English metaphysical poets made as unusual and as inevitable connections among things, places, ideas, words, and people. Once you read her, what she has to say is natural to the point of obviousness; yet before she says it, unimaginable.

Nicholas Poburko, Managing Editor, Arion, A Journal of Humanities and the Classics.  Boston University.


Having performed at the cello and played the role of Vergil in Amelia's HELL, I was flattered, excited and scared stiff when she proposed that I create the music for her play about Saint Augustine's CONFESSIONS. But she proved to be, not only a visionary dramaturge but also a puckish collaborator in the development of musical ideas. Recently, I went on to compose the score for her ANTINOUS. Working with her has been, not just rewarding but transformative. In short, Amelia allows the people who work with her to discover the artists they were born to be.

David Sharpe
, Composer & Actor

Amelia is a passionate playwright and historian who has devoted her life to the art of storytelling, that very necessary food for the soul. Her inspiration has led her to explore the depths of the human heart, on stage, on the page, and in her living room. As she weaves fascinating tales of fiction and non-fiction, you lose all sense of actual time and space. Amelia is a force to behold.

John Sannuto, Actor & Director

More than fifteen years ago, I invited Amelia to give a lecture for art educators and museum professionals. I was so taken by the experience that we went on to partner in a number of innovative projects, including extensive training of the curatorial staff in matters relating to the audience, as well as long-term work with local schools and teachers, where looking at art was used as a means to encourage children's intellectual growth. So, that initial encounter, ended up changing the way I think about art education. It also opened up a door for me, personally, into the depths of art's pleasures. 

Gloria Valls, Director of Education, FundaciĆ³ La Caixa, Barcelona.


As an editor, I share with Amelia a slavery to words. During the last decade, we have collaborated widely, not just in our five books, but also in lecture series, workshops and exhibitions. Put simply, Amelia is a fountain of words, a fountain of ideas, a fountain of knowledge, a fountain of energy, and a fountain of love.

Yuki Fujimoto, President, Bookend Publishing Co., Ltd. Former Editor-in-Chief, Tankosha Publishers, Tokyo. 


When I met Amelia almost two decades ago, we made an instant connection. She included me in a traveling exhibition in Japan based on her book, "Is This Art?" -- and this was a very special experience for me. I was honored to see my work next to those by artists such as Malevich, Duchamp and Ad Reinhardt, and to do so in a context where unexpected ideas and associations emerged. Amelia is a free spirit, passionate and brave, what more could I say?

Fernanda Gomes, Visual Artist


IMAGE: Caravaggio, The Inspiration of Saint Matthew, detail (1602)
MUSIC: Bach, "The Goldberg Variations," performed by Glenn Gould (1962)

Goldberg Variations 1-7