In painting, object reference and abstraction coexist. When the analysis of the cube is carried over to the canvas, with its corresponding areas of shadow and reflection, it is the angle of view of the viewer that redefines the existence of certain planes. The relationship between metallic and matte pigments, of similar colour and tone, may correspond exactly on one plane of the object, but the point of view can lead to the appearance of other planes within it, given the relationship between traditional oil colours, which tend to remain as such, as opposed to metallic acrylics, of more recent origin, which change according to the angle of view...

The visual impression that the mind receives remains for at least an eighth of a second after the image has been removed. But the problem of the temporality of subjective vision is linked to other parallel contemporary philosophical discourses, which describe a vision based on temporal overlap, where the subject tends to superimpose past and present to capture a more complete idea of ​​the observed object or event. That is, for each thing to complete itself, it goes through a series of processes that follow one another - in which the last always involves the previous one.