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.

Albacete generally works in thematic series of paintings he explores at great length. Particularly noteworthy among these are those dedicated to the painter’s studio, to bathers and to Narcissus.

Geometry is downplayed in favour of a greater presence of light, and from the nineties onwards, the figure, still life and landscape become the central subject matters in his painting, in some cases leaning towards abstraction.

Water is another recurrent motif in his work. For Albacete, water and paint are often one and the same thing, or, in his own words, “diving into the sea or diving into painting…” Yet these calmed waters of painting can soon turn into a true maelstrom.

This painting contains only one point of calm,  the temple. The rest is a whirlpool engulfing everything. Ovid’s myth was an endless source of inspiration for Albacete, who, apart from this excellent painting, dedicated several prints to the same theme. In Narciso both birth and death are connected to water. But it is not still, calm water, instead it is a turbulent reflection of yearning to merge with water and dissolve ourselves in it.