I work with natural light – the morning light illuminates the studio, in the afternoon it moves towards the paintings and rises over their smooth, thickened surfaces.

I remember thinking about light projected onto white walls; after returning from Rome – it was in the nineties and I was living in the centre of Madrid, in the same apartment where I had painted my work in the eighties. In an entrance hall to the building, next to some stairs, I rented what had been a coal cellar; every morning I entered it in darkness, and when I turned on the light, I saw my austere, white paintings, which I called screens. I had moved away from the physical aspect of the paint, and used to tint the canvas with greys and whites. The years went by and my work evolved, certain of my paintings led me to others, and I gradually incorporated colour that flowed in from a border like a threat, at times coming to dominate the luminosity of the canvas.

By the time I was in Galicia, among things that occurred was that, at a certain point, I understood that this yearning to seek the immaterial or ethereal, the air of the painting, could be represented through the paint. I brought the shapes closer, as the zoom lens of a camera does, concentrating on the contemplative curiosity I have always had about the visible and invisible nature that has coloured my gaze over the years. The wind that makes clouds spread out, the light that transitions into night over the sea, the island on the transparent horizon, the wind that lifts up the white caps of waves, the clouds in motion and the sphere where I find unheard-of colours.

Through a slow thought process, I came to realise that the paintings moved in my gaze and intensified their tones, floating on my retina. Sometimes when I entered the studio they seemed to be engrossed in their private affairs, but when I began looking at them, they would light up and move. I worked on the behaviour of colour under the gaze, the wind of the painting and transition, abstraction, elevation, the study of light and colour, the vibration between the layers.

Painting that drags the wind from the brush onto the canvas and that says: "keep going, you seem to be doing well".

(Text by Din Matamoro, 2026)