In Chillida’s practice, his graphic output and his sculptures are closely bound. In the late fifties, the artist began to research and experiment with engraving techniques. Just like in his sculpture, in his works on paper Chillida played with opposing concepts, like light and shadow, form and content, line and plane.

In this work, one can acknowledge the play of thick black lines which, by being placed next to each other, leave thin white lines between them. The result is a solid whole with a forceful presence on the paper. With these pieces Chillida started to move away from his more linear early engravings. The importance of the plane will be increasingly patent, ultimately covering much of the surface of the work, just like in another piece from the BBVA Collection, Zeihartu II.

The artist explores each material to make the most of its possibilities. In this work, apart from , he uses , a technique that allows him to create a subtle difference of tone. Besides, engraving on a vegetal paper superimposed on another paper of higher weight increases the quality of the .

Basque culture is of the utmost importance in Chillida’s oeuvre. As he himself once stated: “I have my roots here, I create my work here, and it does not belong to me. I feel it with a desire for it to become a more universal culture by the day, but from our roots”. Indeed, his Basque roots are equally visible in the titles of his works, most of them in Basque. The title of this piece, Inguru, alludes to concepts such as “turn” and “surroundings”, strongly related with his gaze as a sculptor, a gaze that knows and at once discovers the piece by conceiving it from all viewpoints.