Campano’s love of painting is evident in his unique personal language. In his own words, his master was José Guerrero (1914-1991): “it was he who guided me towards painting. I was coming from other forms of art, from bricolage, things that were not pure painting. His lesson was to channel me towards pure painting”.

After his early experimentation with automatism, in the 1970s he turned to the work of Gerardo Rueda (1926-1996) and Gustavo Torner (Cuenca, 1925) as guidelines, a that would offer him a way of ordering his painting both compositionally and chromatically. In 1974 he moved to Paris, where his painting expanded and freed itself from ties, more in step with US expressionism. This in turn led him towards larger formats and greater expressiveness and dynamism. In the 1980s he started working on series addressing poetic themes or reinterpretations of works by great painters of the past who he admired, such as Nicolas Poussin (1594-1665), Eugène Delacroix (1798-1863) and Paul Cézanne (1839-1906).

These prints, dated in the mid-seventies, recall the La Ventana suitewhich he had made in 1973 and 1974. In that experimental series, quadrangular and rectangular forms were the central elements in the artist’s expressive vocabulary and, as usual in his output, matched with subtle degradations and saturations of colour.