Mompó’s work is predicated on a search for the minimum expression required to communicate, and in his own words “when painting, I never felt the need to use materials like sand, wood, , thick impastos of colour, or things like that. I am more inclined to express things with as little as possible.” In Huellas en la playa (Prints on the beach), he has reduced the elements to the bare minimum, to two simple planes of colour, and slight touches of colours that the edge of the beach.

His painting in the seventies gradually abandoned the pressing narrative drive of his previous works, supplemented in the preceding decade with written words in a kind of fusion between painting and poetry. Now he is after a more spontaneous expression that will help him to convey sensations and atmospheres. This evolution can be appreciated at a time when he was able to acquaint himself first-hand with US during the time he spent in California, where he travelled to execute a group of works for an exhibition at the Ruth S. Schaffer gallery, as well as his discovery of Oriental philosophy, which opened up “a new vision towards spontaneity and creativity”, as the artist said.

On the other hand, in 1974 he moved to Palma de Mallorca, returning to the Mediterranean that had captivated him in the sixties during his summers in Ibiza. As a result of this set of experiences, he painted works like Huellas en la playa, in which the delicacy of the faint marks of colour speak of a highly personal experience of the sea and of the beach which, at once, conveys the sense of harmony the artist feels with his surroundings.