After his early works within the confines of , in the late seventies one can discern how the pure pleasure of painting takes possession of the canvas. He assimilated and fused Impressionism, , and US abstraction with an immersion in Mediterranean landscapes, which he engaged with thanks to the teachings of his master Juan Bonafé (1901-1969). The end result is a painting based primarily on colour, light and brushwork.

He normally works in thematic suites of pictures which he submits to detailed examination, including series dedicated to the painter’s studio, to bathers or the figure of Narcissus.

These silkscreens, such as this diptych, most of which were made in the eighties, come from a moment in his practice when he resolved colour fields in a sketchy fashion, combining highly disparate chromatic ranges in an apparently anarchic fashion which was reminiscent in ways of .

This technique enabled him to couple the brushwork and the support in a very graphic and at once systematic way, producing a type of aesthetic representation that makes his works readily recognisable.