Both before and after the filming of The Quince Tree Sun, between 1990 and 2003, Víctor Erice recorded Antonio López working in several artworks that he was carrying out in different parts of Madrid, exploring what could emerge from the encounter with the painter's work.
From these Sketches Víctor Erice conceived an installation that presented the pictures of Antonio López through the cinema; the images that the artist saw while working in these works, but adding to them what the stillness of a painting cannot: sound, motion and time. The result, Fragor del mundo. Silencio de la pintura (The World Roar. Silence of painting), could be seen in 2006 at the CCCB in Barcelona and then at La Casa Encendida in Madrid during the exhibition showing the careers and correspondence of Víctor Erice and another renowned filmmaker, Abbas Kiarostami. There occurred a new encounter between art and cinema, where in addition to that installation it was also shown the result of the work of Antonio López at these locations in an unusual way. In particular, in the exhibition were shown the paintings Gran Vía (1974-1981), Madrid desde Torres Blancas (Madrid from Torres Blancas) (1974-1982) and Madrid desde el Cerro Almodóvar (Madrid from Almodóvar Hill) (1991-1994) and the resulting works from filming The Quince Tree Sun: the drawing Árbol de membrillo (Quince tree) (1990) and the painting Membrillero (Quince tree) (1992) -in which he continued working after the shooting-. Wisely Víctor Erice subverted the way of exhibiting cinema and painting in this project, thus presenting the art works surrounded by darkness, illuminated from behind and wrapping them in the ambient sounds collected in those places where Antonio painted them.