The creative work of this precocious artist straddles poetry and painting, though he concentrates primarily on the latter, and in both one can perceive an ironic and critical intent with strongly Galician roots. He belonged to the Atlánticagroup, and one of his early models was Laxeiro (1908-1996).

He has been linked with Jean Dubuffet (1901-1985), Gaston Chaissac (1910-1964) and

 Art Brut 

Jean Dubuffet acuñó este término para referirse a la práctica artística pura, alejada de los condicionantes derivados de lo aprendido o de la sociedad.

, but what he is really seeking is humble, everyday beauty: “I work with humble materials because I think I am closer to life like that…” He collects working materials, waste items, which he uses as supports for his work, as if he were trying through the materials to recover his connection with things, with everyday reality. He works on wood, cardboard and sacks, which he covers with thick layers of varnish, glue or industrial products.

This work belongs to a series he produced in the late eighties entitled Xanelas (Windows). Part of this series was shown at the Bruno Facchetti Gallery in New York in 1988, in the exhibition Xanelas e Sellos, as he was in the city at the time on a Fulbright scholarship.

The window Lamazares presents to us is blocked off; with that corrugated cardboard it recalls the back of a picture, and even the label reinforces this idea of reversal. It plays ironically on the idea of the window supposedly open to the reality of the painting versus its physical nature, its material reality as an invention, revealing a demythologising view of art which seems to come from that imprecise image arising from the piece of paper stuck to the surface.