Luis Feito began his practice with a brief figurative period and a short phase of cubist experimentation, before ending up, in the early 1950s, fully embracing abstraction influenced by Mark Rothko (1903-1970), Kazimir Malevich (1878-1935), Serge Poliakoff (1900-1969) and Hans Hartung (1904-1989). In 1956 he travelled to Paris thanks to a scholarship. There he discovered the and the automatism that would exert such a great influence on his art. In 1957 he took part in founding the El Paso group.

Feito understands painting as an action that gradually reveals a form. Unlike his coevals, for Feito matter is only a case of painterly treatment and not metaphorical. It is a presence in itself that should have a visual and emotional impact on the beholder.

In the 1960s, Feito’s practice gained in intensity and corporeity thanks to his mixture of oil with sand, but it also became more austere and restrained. The impastos and pigments are not randomly thrown on the canvas, but respond to a quest for spiritual tension.