Going against the recent “imagisation” of painting, the works here presented are the result of their reflexive quality, in which one can see a fidelity to the depicting of the object. These paintings, starting from the figurative condition of the world, and within a plastic thinking rooted in the artistic tradition, take the object as the starting point for them to become released from it though its duplication, dissimulating it within a succession of layers of paint that shape the space. The spatialised stain, the light, or what is left of it, through a specular device that ends up by cutting it vertically and disseminating its reflections all over the pictorial surface.

In opposition to this action of bringing the colour to the fore, following a compositional methodology converted into an obsessive process of superimposing, the drawing shows a permanent effort at erasing, resulting from the contrary action of pushing it against the paper support. In the movement of bringing the colour to the surface, the object-mirror, in its circular configuration, seems to form an allegory of the world in this return to the true ontological condition of painting.

JFP