I have devoted myself to understand the abstract painting. But whenever I see a work, or when I start an abstract canvas I relate somehow, to a greater or lesser degree, to something concrete. Even Malevich’s “Black Square on White Background, Kandinski’s work, and Polock’s action painting, it is difficult for me to completely break the ties linking the work to a certain visible or imaginary reality.

I prefer to simply classify my series of paintings as “intuitive”. The perceiving, feeling and discerning things, independently of a logical reasoning in-depth and without worrying to what extent the motive is abstract, surreal or figurative. I leave the evaluation to the critics.

I also think that in intuitive art we can divide the process of mental elaboration of work and the execution of the painting itself which is the rendering technique. Therefore I see no conflict in using an elaborate execution technique to a work conceived in an intuitive (or abstract) way.

The proposal was to use transparency, characteristic of layered oil painting, explore the backlight and apply slight impasto at the end.

I like to paint on the stretched canvas. Which was provisionally mounted on the frame. Subsequently it will be withdrawn, rolled and can be packed in a tube. The goal is to facilitate shipment to other countries.

For medium or large size canvases, stretched the shipping cost is relatively high. Also the risk of damaging the work during transport is greater. 

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Application of thick plaster, slightly diluted. The goal is to make the canvas texture smoother, as it is difficult to work with glazing and thin paint layers in the accentuated texture. 

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Fine plaster, it has a subtle but porous texture which helps to fix the layer of oil paint on the base. I do not recommend glossy acrylic, the fixation of the oil on the acrylic is physical, and can give detachment problem over time. I applied two coats painting. Plaster was dyed with orange cadmium and a bit of ochre yellow.

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In this stage were used for the colors: ultramarine blue, prussian blue, vermilion and titanium white.

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After drying, a few days later, in some areas, were applied a cold gray glazes, a mixture of ultramarine, white and red, to contrast with the warm colors.

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Days later, the fund was reworked. Some dark areas have been accentuated, but leaving a certain transparency. Some light was accentuated. The details were painted using a blend of ultramarine blue, white and red, resulting in a grayish tone, sometimes bluish, sometimes medium gray and with slight impastos.

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The process of painting is time-consuming. But while the layers of a canvas are drying I am painting others. It is common in the atelier several work initiated in various stages of the painting

40 seconds video for social media presentation

Thank you all.