Michavila began his career in the fifties as part of the group Los Siete. He was also a founding member of the Parpalló and

 Arte Vivo 

an art movement founded in 1962 by Alberto Greco, whose aim was to capture reality as it is (movements, conversations, gestures, attitudes, smells, places, etc.) without any kind of transformation.

. He was also a founding member of the

 Antes del Arte 

in 1967, the art critic Vicente Aguilera Cerni promoted an art group in Valencia which was the starting point for a new movement grounded in Op and Kinetic art. The mandate of the group was to establish nexuses between science and art. Optical illusions, impossible figures and images deriving from Gestalt psychology were critical elements in its creations.

movement, promoted by the critic Vicente Aguilera Cerni. By contrast with the diversity of Parpalló, all the members of this last group shared the same aesthetic approach, a combination of and Kinetic Art, and above all the same quest, to find the relationship between science and art.

Michavila took part in the analytical trend of the sixties and seventies, basing his work on compositional rigour, the study of diagonals, and superimposed planes of colour. His is a cerebral type of painting, which he executes after a long period of reflection during which he experiments with forms and establishes a dialogue between space, form and colour. Later on he adopted a much more gestural aesthetic, within the ambit ofabstract Informalismo.

His career as an artist and teacher was recognised in 1975 when he was made a member of the San Carlos Royal Academy of Fine Arts in Valencia.

This composition, forming a pair with another work also in the BBVA Collection, exemplifies to perfection the evolution Michavila’s work underwent from the 1980s onwards, when he left aside pure geometry to explore more emotional experiences, rendered in a brand of expressionist abstraction with vague references to landscape.