The Surrealist painter deliberately lived his life to complement his deceptive and illusory art. By the end, it was so close to being a confidence trick in itself that historians and biographers have had to struggle to separate fact from the sexual fantasy. Lozano's book is now set to bring the voice of an eye witness to the Salvador Dali myth - and to all the orgiastic gossip about the past. Vanessa Thorpe - The Observer February 20th, 2000. -- Vanessa Thorpe - The Observer February 20th, 2000
From the Author
Salvador Dali was the 20th century's most important artist. Okay. There's Picasso; Marcel Duchamp. But for suspending time in the Persistence of Memory, for appealing to our subconscious fears and frustrations in the Metamorphosis of Narcissus, for pure unadulterated personality, Dali is peerless. He was a circus. The big top was always full. He was always on stage: the clown, the magician, the man on the high wire and up there in the white heat of the spotlight what we see is an image, a shadow, a spectral secret few people were invited to share. Carlos Lozano was one of the select. They connected as young boys connect. Sometimes they were naughty boys. They played. They were always friends and within the bounds of this friendship, Carlos was enriched by insights that reveal the broadest range of emotions, the private terrors and the moments of self-doubt that make up the complex portrait of art's most intriguing practitioner. Dali hated pornography. He loved eroticism. Surrealism, drawing upon the insights of Freud, wanted to unlock human sexuality. Salvador Dali was its greatest exponent. As he said and more than once: The only difference between me and the surrealists is that I am a surrealist. It was a privilege for me to be allowed to share Carlos Lozano's unique story and write his memoirs in Sex, Surrealism, Dali and Me. It is, I hope, surreal, erotic and lots of fun.