Michavila’s interest in geometry can be traced back to his landscapes from 1954, in which we can already detect Cubist influences. This trend found continuity in the 1960s onwards through the artist’s connection with groups leaning towards and geometry, first and foremost with Parpalló, in spite of its formal heterogeneity, and definitively with , a group that drew on scientific knowledge in its quest for a new aesthetic vision.

The influence of these experiences can be noted in Michavila’s practice in the 1960s and 1970s, when he established a dialogue between geometry and colour in a conscientiously meditated form. For the artist, his Constructivist work is the by-product of “a period of deep introspection and reflection on the parameters of painting, form, composition, colour, and space.”

Contactos is the title of this piece. In works like this, the main forms—which the artist called “micro-events”—converge within a very small space. The apex of the work is astutely placed towards its centre but slightly shifted to the left and downwards, thus avoiding the concentration of all the tension at the centre point of the composition.

The piece could almost be described as monochrome. Two intense matte yellow figures stand out from a dark background. It contains subtle nuances that contribute to the overall composition: the artist emphasises the point of contact of the two figures with a darker shade of yellow, while some fine orange lines give the overall whole a sense of rhythm.

To achieve an even more perfect finish, in this type of works Michavila uses a final layer of powdered colour with a matte varnish to eliminate any gloss that might distract the beholder from form and colour, which are the truly essential elements.