This is a work of high artistic quality by an artist who uses a highly personal painterly idiom, full of very recognisable references, to reflect on the world around us. He is a masterly inventor of buildings and architectural spaces, whose paintings are characterised by refined technique and by transmitting a certain feeling of unease which invites the viewer to meditate on them.

Ángel Orcajo, who started from an almost magical realism, belongs to that generation of painters who responded to the crisis of Informalismo by opting for a figurative alternative generally inspired by British . The urban landscape becomes the thematic basis of his work: big cities, which take on a bleak, disturbing atmosphere in his pictures. It is a space with a certain metaphysical character in which geometry and unease are superbly administered.

In the eighties, his chromatically intense and spatially complex compositions —an explosion of forms and colours— became more markedly and obviously dynamic. The presence of skyscrapers, an ostentatiously deployed symbol of rationality, does not express an idealisation of this form of architecture but rather the inability of the individual to escape technological functionalism.

Escenario último (1987) reflects his response to the impact of encountering Manhattan. It represents that metaphysical sense in his painting which enables him to express the contradictions that arise between the city and human beings, whom he excludes from his compositions. An architectural space becomes the only element he uses to capture that world of constant movement.