Farreras began his studies in Santa Cruz, Tenerife and continued in 1943 in Madrid, where he was taught by Daniel Vázquez Díaz (1882-1969). For this reason, his earliest works fall into the category of geometric figurativism, after the manner of his teacher. After his period in Paris (1953-55) his work became immersed in Abstraction, subsequently incorporating elements of Matter painting, which brought him close to the Informalismo that was beginning to emerge at a European level. In the late fifties he experimented with other artistic techniques: stained glass, mosaics, murals and collages with tissue paper and sand. His special interest in investigating new materials alien to normal artistic practice led him to work with sand, various types of translucent paper — particularly tissue paper — and later with what he called coudrages (sewn fabrics) and wood. In the late eighties he abandoned this technique and devoted himself exclusively to wooden reliefs.

This Composición from 1959 shows the Farreras of the early collages, using translucent paper, in this case tissue paper, a material he discovered in 1958. He worked with it by taking advantage of its optical and textural characteristics: sticking it, folding it and making use of the different tonalities it acquires when it is superimposed on a black background. The restrained colour is reminiscent of many members of the El Paso group, some of whom were included together with Farreras in an exhibition on abstract art in 1956, and his work with texture and transparency makes one think particularly of Manuel Rivera and his superimposed meshes.

In the words of José Hierro, his works suggest “floating clouds, strange butterflies, visionary flowers”, by representing worlds that he filled in his imagination with his semitransparent paper.