A staunch advocate of , Pablo Palazuelo’s work, though imbued with marked lyricism, is grounded in intellectual, mathematical, spiritual and philosophical postulates aimed at exploring the infinite possibilities of representing forms in space.

Although an architect by training, Palazuelo soon decided to devote himself to painting, which in turn gradually gave way to sculpture. His geometric modules were probably largely indebted to his academic training. Also patent in his practice is the influence of the Cubist painting of Piet Mondrian (1872-1944) and Paul Klee (1879-1940), particularly the latter, responsible for his move towards abstraction. In the 1950s and 1960s, his compositions developed the idea of polygons expanding in space. Later, his style softened and evolved towards greater simplicity to reveal a much more spiritual art.

Palazuelo’s work is undergirded by a highly personal geometric conception, defined by a refined and linear technique of flat, neat, delicate colours, combining form and colour in a thorough and rational manner. Palazuelo observes his works insistently and repeatedly, meditating on them until considering them finished. As such, nothing is left to chance. In his paintings, emotion is restrained and controlled.

His forms exude energy and the series

 Yantra 

the root of the word, yan, means “to conceive” and by extension “mental conception” or “support of energy.” It refers to certain complex geometric representations of hypothetical energies deriving from the cosmos and the human body. The yantra is built from the inside outwards or vice versa. Those practicing this type of mental exercise may arrive at pure consciousness transcending the distinction between subject and object.

  to which this piece belongs is an evident example. In

 Yantra 

the root of the word, yan, means “to conceive” and by extension “mental conception” or “support of energy.” It refers to certain complex geometric representations of hypothetical energies deriving from the cosmos and the human body. The yantra is built from the inside outwards or vice versa. Those practicing this type of mental exercise may arrive at pure consciousness transcending the distinction between subject and object.

III, the geometric forms are arranged concentrically. The composition is divided into two matching halves, as in a representation of yin and yang. One mirrors the other, while colour is the element that allows us to delimit and differentiate them.