For this artist, creativity is not a matter of imitating external reality, but in revealing the image of the world that lies dormant in his subconscious. Therefore, to be represented, these new forms that arise also call for new materials, though ultimately the most important thing is not the material used but the end result and its formal quality.
 
In his practice, Farreras uses the less conventional material of paper which is masked in such a way that the spectator takes it for traditional fine art materials. The novelty however lies not in the material in itself, but his way of using it, as its appearance eschews all overt recognition.
 
Farreras’s trajectory is in constant evolution: the geometry of the fifties, governed by ordered rhythms and proportions and the layering of planes with the use of sand deployed on the canvas, gradually gave way to more spectral works (1958-1965), in which silk paper is carefully arranged in a more or less clear, balanced fashion on an earthy background, submerged in a mysterious halo; the later disappearance of this vaporous effect shows more evidently the order that underlies strange still lifes and impossible landscapes. Here the paper creates diagonal rhythms that cast a shadow or give rise to an oblong form.
 
And that leads to the period from which this work comes. Here there is no longer the peace and calm of before, rather a sense of unease and restlessness that adds a newfound wealth to his compositional systems, with the forms becoming more compelling and powerful. Ovoid elements also began to appear. The thicker paper he now used is first dyed, endowing each element he models with a solid structure. A meandering winding strip can be seen, almost as if it were the bandage from around a mummy’s body, creating folds and volumes that bring to mind human stumps. The light is even more dramatic, more highly contrasted, and the gamut of colours is gradually pared down more and more, ending up in a predominance of leaden greys.