I know it very well, and I must admit that on very few occasions has this problem arisen. The element of surprise practically does not exist in my painting.

I think so. I believe that balance in my work consists of eliminating all superfluous elements; I even end up placing the signature on the back, since I consider it an element foreign to the composition.

Because of the difference in process and materials. In watercolour, for example, the white is already given to me by the paper, whereas on canvas I have to paint it.

Yes, that is why I use curved lines, because I have realised that they help to produce the effect of movement.

I consider that it enriches it. Every painting is a language and I set out to express the maximum number of things with the minimum number of elements.

Of course. It is a process of reflection that follows a meticulous work programme and does not allow improvisation.

The overall idea of the work is always fixed, but during its execution slight variations occur.

I prefer to go deeper to the greatest possible extent starting from a minimum number of elements, and that is why I voluntarily limit the number of colours I use.

White, black and grey, together with a few touches of blue; for some time now I have also been using red and a few touches of yellow.

No. In fact I mix them with black and white, which makes it possible to obtain nuances within this range.

What role do you assign to colour?

It serves me to accentuate those parts of the canvas which, according to the general arrangement of the elements, I consider most important.

What role do you assign to light?

I use it to give depth and contrast to the different planes.

Why are you so interested in line?

For me line is like the notes of the musical staff for the musician; it is the element on which I work.

Do you simply use the straight line and the curve as elements that organise?

Yes, but each one of them fulfils a different function. The straight line serves me to give stability and the curve movement.

Have you ever been interested in going beyond the two dimensions?

I try to create the illusion of a third dimension through the use of light and the intensity of colours.

In your work there is a clear interest
in representing space.

Yes. It is like a necessary projection of the search for another dimension, because painting, deep down, is always a fiction that tries to translate two dimensions into three, which implies the search for space.

Why an architectural space?

I associate the idea of space with architecture, because it has been created by man, whereas that of nature is a space that is given.

Do you not fear becoming obsessed with the pictorial idea you have imposed on yourself?

In my case obsession is inevitable. I need to concentrate absolutely in order to be able to go as deeply as possible and get the greatest possible benefit from the few elements with which I work.

Have you never felt the need to stop going deeper into the line you follow and try another path?

No, for the simple reason that I keep discovering new things, and that interests me much more than trying new experiences.

You prefer, of course, a work
well done to a good idea.

What parentage or influences do you recognise?

I would not paint in this way if Klee, Mondrian, Kandinsky, etc., had not existed before.

Which avant-garde line interests you most?

In principle I am open to all kinds of experiences.

Is freedom indispensable for creating?

Indispensable. Without freedom there is no possibility of valid creation. Freedom is at the base of every work and any obstacle or the slightest restriction that it may encounter in its path does nothing but hinder creation and the meaning of the work.

I am referring to all of them, because freedom cannot have limits. The artist must be able to work without the slightest constraint, which often not only comes from the political sphere, but also, for example, from the pressures exerted by galleries, dealers, criticism and the public.

Of course, I have found my own writing, but from here on there is a wide path that can be travelled in many directions and I want to have the freedom to embark on all the paths I consider necessary.