At the end of 1964 Salvador Victoria returned to Spain after spending ten years in Paris. And so he brought to an end a highly fruitful period that had acquainted him intimately with international avant-garde movements. Worth underscoring is his knowledge of the work and thinking of two artists who would be critical for his later practice: Wassily Kandinsky (1866-1944)—particularly his study of geometric forms and his connection with the cosmic—and Paul Klee (1879-1940) and his treatment of light, motifs and spiritual conception of art. At that time, Victoria had already taken part in significant European events, including the 30th Venice Biennale (1960) and the 2nd Paris Biennale (1961) held at the Musée d´Art Moderne de la Ville de Paris.

After arriving in Madrid he joined the roster of the recently opened Galería Juana Mordó (where this work was purchased). In 1965 he held his first solo exhibitions in Spain, organised at the Ateneo in Madrid and the Museum of Fine Arts of Bilbao. From that moment onwards he would exhibit his work on a regular basis for many years.

In his works from this time he began to organise the space with an evident influence from . In the 1970s his works had already left behind the Informalismo of his Paris period and were now dominated by the forcefulness of geometric forms, especially the circle. Victoria was a serious-minded artist who conscientiously studied the visual qualities of his creations. The arrangement of the bodies in space, the harmony of colours and the suggestion of texture are key aspects in his practice.

Victoria had been using the technique of since the 1960s to experiment with relief. Colour plays a decisive role in his collages, made on paper and board. His palette softened and acquired a strong light, something in which many critics detect the influence of the Valencian Post-Impressionism that marked his formative years.

This piece stands out for its evanescent treatment: transparencies—the acetate in the middle layer—and the use of powder paint with blur the contours and increase the sense of volume. In a nearly mystical vision, the spheres seem to float in the air. Victoria manages to create an immaterial space with an aerial appearance and a cosmic dimension, where geometry combines with the lyricism so characteristic of his work.