In the 1970s SalvadorVictoria’s works had already left behind the of his Paris period and were now dominated by the forcefulness of geometric forms and symmetry. To a great or lesser degree, geometry would then remain a constant in his career. In addition, his palette softened and acquired a strong light, something in which many critics detect the influence of the Valencian Post-Impressionism that marked his formative years.

Far from a cold and rational abstraction, Victoria’s oeuvre is permeated by a sense of spiritualism. He used geometry as a vehicle to give order to his lyrical discourse. In this regard, one can discern the influence of Wassily Kandinsky (1866-1944), Paul Klee (1879-1940) or Ben Nicholson (1894-1982) in the treatment of colour and form.

From this decade onwards, a powerful figure would appear almost systematically in all his representations, namely the circle. At times it was created by layering lines in space and other times it emerged like a sun on the horizon. Colour was also to play an equally important role, as would the line, a succession of curves that speak to the spatiality emanating from emptiness. The artist himself defined his painting as “within , attracted towards matter and signs (…) grounded in colour (…), a more open and profound expressive clarity”.

The relationship established between the forms brings to mind a landscape, albeit indirectly, with highly studied movement and rhythm in search of balance and understanding between the elements.