Victoria was a serious-minded artist who conscientiously studied the visual qualities of his creations. The arrangement of the bodies in space, the harmony of colours and the suggestion of texture are key aspects in his practice.

Always sustained by a very personal and independent quality, his work did not undergo any abrupt changes, with his production consistently reflecting the gradual evolution in his artistic research. At the same time, he was an active and engaged artist, closely connected to various art circles and he also worked as a teacher at the School of Fine Arts at Universidad Complutense in Madrid since 1979, the year this work was painted.

After a brief period of , his work veered towards . To a great or lesser degree, geometry would then remain a constant in his career. However, 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.

In the 1960s he began to use to add relief to his works. In this piece he glued cuttings of geometric forms on the canvas, which he later hid beneath a layer of priming that covers the whole surface and integrates them chromatically, providing movement and texture to the work without appearing incongruous.

In the late 1970s, his symmetric works with pale and bright tones and dominated by forceful geometric forms began to give signs of greater flexibility. In this work the artist shook off the rigid geometry and experimented with more intense and dark colours, favouring heavier and denser volumes which, as usual in his art, seem to be gravitating, almost as if they were suspended in a fluid. His forms became more simplified and their contours more blurred and in the following decade he would use circular shapes nearly exclusively. Through transparencies he achieved by applying oil paint in glazes, he superimposed figures with fuzzy outlines and a wealth of nuances, with results invariably conveying a sense of balance and serenity.